because we were talking about it in the lesson, I give a short overwiew
of what you could call 'types of ending'. In fact the overview deals with
two sets of terms - both describe slightly different things. Not all of
the following remarks was subject of the lesson already - I give it to
make things more ar less complete..
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The following terms describe in which way a final tonic is reached:
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authentic ending (dutch authentiek slot): a closure, where before
the final tonic stands a dominant (in most cases: the Vth degree).
See example 1a.
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plagal ending (dutch: plagaal slot): a closure, where before the
final tonic stands a subominant (in most cases: the IVth or IInd
degree). See example 1b.
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The following terms describe on which function we end: full cadence
(dutch: heel slot: an ending on the Ist degree, the tonic.In
general this first degree is in root position: to make a full cadence 'perfect'
it is necesaary to put the root not only in the bass, but also in the upper
voice (so that the melody also ends on the root of the key).We could
call this a perfect full cadence (dutch: volkomen heel slot). In
case the third or fifth of the tonic is on top in the final chord the cadence
will be less 'perfect', more 'open'. We can call this situation: imperfect
full cadence (dutch: onvolkomen heel slot).
See example 1c.
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full cadence (dutch: heel slot: an ending on the Ist degree,
the tonic. In general this first degree is in root position: to
make a full cadence 'perfect' it is necesaary to put the root not only
in the bass, but also in the upper voice (so that the melody also
ends on the root of the key).We could call this a perfect full cadence
(dutch: volkomen heel slot). In case the third or fifth of the tonic
is on top in the final chord the cadence will be less 'perfect', more 'open'.
We can call this situation: imperfect full cadence (dutch: onvolkomen
heel slot). See example 1c.
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semicadence (dutch: half slot): a - temporary - ending on the
dominant (in most cades: the Vth degree), and in most cases halfway
a musical phrase. In general the dominant is in root position, but
6-, 6/5-, 4/3- of 2-inversions are also possible. See example 1d.
-
deceptive cadence (dutch: bedrieglijke sluiting, or - in german: Trugschluß):
in a cadence the dominant is not followed by the tonic (what we would normally
expect..) but another degree. In most cases the situation is as
follows: the leading tone (dutch: leidtoon) in the dominant chord
does
resolve
as expected: to the root of the key. But this tone isn't part of the tonic
triad,
but
of a 'wrong chord' - very often the VIth degree, or for instance (less
often) IV6. The deceptive cadence is very often used to stretch a phrase:
because the closure dominant --> tonic 'went wrong', a new effort has to
be undertaken to reach the tonic...See examples 1e and 1f.
example 1 closures |
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Like a deceptive cadence causes very often a lengthened phrase, so does
the plagal cadence - but in a different way: a plagal cadence (plagaal
slot) is very often used after the authentic cadence (or full
cadence, heel slot) - in fact: after the piece or the phrase already has
ended.See example 2. This use of a plagal cadence is very often used in
the 'amen' at the end of parts od masses etc.
example 2 plagal ending after a final cadence |
At * the melody has in fact ended. The plagal cadence is
a harmonic 'extra'. |
An example of an amen, on a plagal cadence, an example
from 1869:
example 3 Bruckner, final bars het Ave
Maria (from the motets) |
At * the melody (and in fact: the whole piece) has ended.
The plagal cadence is 'extra'. |
And three centuries earlier (1567):
example 4 Palestrina, Missia Papae Marcelli,
end of the Kyrie |
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The term cadence is used in two senses; they are similar, but
not exactly the same:
-
in the most literal meaning cadence is: ending (on a certain
degree in a key, often the tonic - the harmony 'falls' to the tonic, cadere=to
fall) In this sense the endings of example 1 could be called cadences -
only the deceptive cadence is a bit strange..: in a deceptive cadence an
ending is avoided..! You could use the term cadence in sentences like:
"after the modulation follows a cadence in G-major". A full cadence
(dutch: volledige cadens) is a cadence where all three functions are
used (subdominant - dominant - tonic, so for instance: IV V
I or II V I ) See example 5:
example 5 cadence |
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-
The second meaning of the term cadence is: a group of chords in a key,
that is in such order and of such choice that we know in which key we
are. In most cases atleast three chords must be used to achieve
this: the combination of the triads C-major followed by F-major we could
hear in different ways, for instance as V I in F major, but also as I IV
in C major.
There are of course lots of possibilities here, but some are specially
important, because they can be seen as 'standard formulas' (see example
6)
-
the complete cadence (dutch: volledige cadens) I mentioned before:
in a 'standardized' form this formula is mostly with a tonic in the beginning,
and constists of tonic - subdom - dom - tonic , for instance the degrees
I IV V I or I II V
I .
-
de socalled extended cadence (dutch: uitgebreide cadens):
I VI IV II V I . One copuld consider VI here
as prolongation of I, and II as prolongation of IV.
In minor very often the seventh chord of II is used.
-
a cadence with a deceptive ending in the middle: after the deception
follows an authentic or plagal ending, so for instance: I IV
V VI IV V I or I IV
V VI IV I
example 6 standaa=rd-cadences
abbrevations: T=tonic, S=subdominant, D=dominant |
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You can listen to the pieces once more by clicking on an 'ear'...
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Mozart, sonate in G major, KV 283, second movement (in C major)
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The piece is played by Michael Endres (Arte Nova classics)
(and something is not working with recording it, so it's only half
of the movement)
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a |
Decribe the structure of the first 4 bars of the piece - you can use
numbers and brackets for that purpose, so something like : ( 3 +
3 ) etc. Is this a Satz or a periode? Why? |
b |
To what key is modulated after bar 9? At what moment this modulation
(=change of key) is audible, and why? |
c |
What kind of ending is at the end of bar 9 (either full cadence, semicadence
or deptive cadence) ? In which key? |
d |
Is there reason to believe the bars 5-14 are in fact one sentence
? Why? (the answer has also to do with the answer to question 1c) |
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and eventually to listen to (again) ....:
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Mozart, string quartet in D major, KV 499, first movement (which
you don't have) and second movement (which you have)
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The piece is played by the Alban Berg Quartett (Emi Classicas)
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1st
mov
2nd
mov |
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