View source for Cadence

{{Short description|End of a musical phrase with resolution}}
{{Other uses}}
{{Image frame|content=<score sound="1">
    {
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            \new Voice \relative c'' {
                \stemUp \clef treble \key c \major \time 4/4
                d2 b c1
                }
            \new Voice \relative c' {
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            >>
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</score>|width=250|caption=The final two chords present an authentic (or perfect) cadence with [[root (chord)|roots]] in the bass lines and the [[tonic (music)|tonic]] note in the highest voice of the final chord): the three chords are a [[ii–V–I progression]] in C major, in four-[[part (music)|part]] [[harmony]]{{sfn|Benward|Saker|2003|p=90}}}}

In [[Classical music|Western]] [[musical theory]], a '''cadence''' ({{ety|la|cadentia|a falling}}) is the end of a phrase in which the [[melody]] or [[harmony]] creates a sense of full or partial [[resolution (music)|resolution]], especially in music of the 16th century onwards.<ref name="Randel">[[Don Michael Randel]] (1999). ''The Harvard Concise Dictionary of Music and Musicians'', pp. 105-106. {{ISBN|0-674-00084-6}}.</ref> A harmonic cadence is a [[chord progression|progression]] of two or more [[chord (music)|chord]]s that [[conclusion (music)|concludes]] a [[phrase (music)|phrase]], [[section (music)|section]], or [[composition (music)|piece]] of [[music]].{{sfn|Benward|Saker|2003|p=359}} A rhythmic cadence is a characteristic [[rhythm]]ic pattern that indicates the end of a phrase.<ref name="B&S 91">{{harvnb|Benward|Saker|2003|p=91}}</ref> A cadence can be labeled  "weak" or "strong" depending on the impression of finality it gives. 

While cadences are usually classified by specific chord or [[melodic]] progressions, the use of such progressions does not necessarily constitute a cadence—there must be a sense of closure, as at the end of a phrase. [[Harmonic rhythm]] plays an important part in determining where a cadence occurs. The word "cadence" sometimes slightly shifts its meaning depending on the context; for example, it can be used to refer to the last few notes of a particular phrase, or to just the final chord of that phrase, or to types of chord progressions that are suitable for phrase endings in general.

Cadences are strong indicators of the [[tonic (music)|tonic]] or central pitch of a passage or piece.<ref name="Randel"/> The [[musicologist]] [[Edward Lowinsky]] proposed that the cadence was the "cradle of [[tonality]]".<ref>{{Cite book |last=Judd |first=Christle Collins |title=Tonal Structures in Early Music |publisher=Routledge |year=1998 |isbn=0-8153-3638-1 |editor-last=Judd |editor-first=Christle Collins |pages=6 |chapter=Introduction: Analyzing Early Music}}</ref>

== Nomenclature across the world ==

{| class="wikitable"
|+ Terms used for cadences<ref>{{cite encyclopedia |title=Cadence |encyclopedia=Grove Music Online |year=2001 |last=Rockstro |first=William S. |publisher=Oxford University Press |location= |doi=10.1093/gmo/9781561592630.article.04523 |id= |url=https://doi.org/10.1093/gmo/9781561592630.article.04523 |access-date=20 November 2022}}</ref>
|-
! US usage
! British usage
! Spanish usage
! Italian usage
! French usage
! German usage
!Typical harmonic sequence
|-
| authentic cadence
| perfect cadence
| cadencia auténtica
| cadenza perfetta
| cadence parfaite
| Ganzschluss
| V → I ([[dominant (music)|dominant]] to [[tonic (music)|tonic]])
|-
| half cadence
| imperfect cadence
| semicadencia
| cadenza sospesa
| demi-cadence
| Halbschluss
| I, II, IV or VI → V (tonic, [[supertonic]], [[subdominant]] or [[submediant]] to dominant)
|-
| plagal cadence
| plagal cadence
| cadencia plagal
| cadenza plagale
| cadence plagale
| plagale Kadenz
| IV  → I (subdominant to tonic)
|-
| deceptive cadence
| interrupted cadence
| cadencia rota
| cadenza d'inganno
| cadence rompue
| Trugschluss
| V → vi (dominant to submediant)
|}

==Common classifications==
Cadences are divided into four main types, according to their harmonic progression: ''authentic'' (typically ''perfect authentic'' or ''imperfect authentic''), ''half'', ''plagal'', and ''deceptive''. Typically, phrases end on authentic or half cadences, and the terms ''plagal'' and ''deceptive'' refer to motion that avoids or follows a phrase-ending cadence. Each cadence can be described using the [[Roman numeral analysis|Roman numeral system]] of naming [[chord (music)|chords]].

===Authentic cadence===<!--[[Perfect authentic cadence]] redirects directly here.-->
{{Image frame|content=<score sound="1" override_midi="Beethoven - Piano Sonata, Op. 13 perfect authentic cadence.mid">
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                \clef treble \key c \minor \time 4/4
                c4-. d-.(\f\trill \grace {c16 d} es4-.) <b d b'>-. <c es c'>
                }
            >>
        \new Staff <<
            \relative c' {
                \clef bass \key c \minor \time 4/4
                c4-. <g b>-. <c, c'>-. <g g'>-. <c, c'>
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</score>|width=300|caption=The final two chords represent a perfect authentic cadence; from [[Beethoven]]'s [[Piano Sonata No. 8 (Beethoven)|Piano Sonata No. 8]], mvmt. III, mm. 16–17.<ref>{{cite book|last=White|first=John D.|year=1976|title=The Analysis of Music|page=34|publisher=Prentice-Hall |isbn=0-13-033233-X}}.</ref>}}An authentic cadence is a cadence from the [[Dominant (music)|dominant]] chord (V) to the [[root (chord)|root chord]] (I). During the dominant chord, a [[seventh (interval)|seventh]] above the dominant may be added to create a [[dominant seventh chord]] (V<sup>7</sup>); the dominant chord may also be preceded by a [[Cadential six-four|cadential {{music|64 chord}} chord]]. ''The Harvard Concise Dictionary of Music and Musicians'' says, "This cadence is a microcosm of the tonal system, and is the most direct means of establishing a pitch as tonic. It is virtually obligatory as the final structural cadence of a tonal work."<ref name="Randel" /> Authentic cadences are generally classified as either ''perfect'' or ''imperfect''. The phrase ''perfect cadence'' is sometimes used as a synonym for ''authentic cadence'' but can also have a more precise meaning depending on the chord [[voicing (music)|voicing]].

====Perfect authentic cadence====
In a perfect authentic cadence (PAC), the chords are in [[root position]] – that is, the [[root (chord)|roots]] of both chords are in the bass – and the [[Tonic (music)|tonic]] is in the highest voice of the final chord. This is generally considered the strongest type of cadence and often found at structurally defining moments.<ref>Thomas Benjamin, Johann Sebastian Bach (2003). ''The Craft of Tonal Counterpoint'', p. 284. {{ISBN|0-415-94391-4}}.</ref> Music theorist [[William Caplin]] writes that the perfect authentic cadence "achieves complete harmonic and melodic closure."<ref>[[William Caplin|Caplin, William E]]. (2000). ''Classical Form: A Theory of Formal Functions for the Instrumental Music of Haydn, Mozart, and Beethoven'', p. 51. {{ISBN|0-19-514399-X}}.</ref>
{{block indent|<score sound="1">
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         \new Voice \relative c'' {
             \stemUp \clef treble \key c \major \time 4/4
             b1 c
             }
         \new Voice \relative c'' {
             \stemDown
              g1 g
              }
            >>
     \new Staff <<
         \new Voice \relative c' {
             \stemUp \clef bass \key c \major \time 4/4
             d1 e
             }
         \new Voice \relative c' {
             \stemDown
             g1 c, \bar "||"
             }
         >>
    >>
</score>}}

====Imperfect authentic cadence====

There are three types of imperfect authentic cadences (IAC):<ref name="K&P 246">{{Cite book|title=Tonal Harmony|last1=Kostka|first1=Stefan|author1-link=Stefan Kostka|last2=Payne|first2=Dorothy|date=2004|publisher=McGraw-Hill|isbn=0072852607|edition=5th|location=Boston|pages=148–149|oclc=51613969}}</ref>

*''Root position IAC'' (shown below): Similar to a perfect authentic cadence, but the highest voice is not the tonic.
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             \stemUp \clef treble \key c \major \time 4/4
             d1 e
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         \new Voice \relative c'' {
             \stemDown
              g1 g
              }
            >>
     \new Staff <<
         \new Voice \relative c' {
             \stemUp \clef bass \key c \major \time 4/4
             b1 c
             }
         \new Voice \relative c' {
             \stemDown
             g1 c, \bar "||"
             }
         >>
    >>
</score>}}
*''Inverted IAC'': Similar to a perfect authentic cadence, but one or both chords are [[Inverted chord|inverted]].
*''[[Leading-tone]] IAC'': The penultimate (V) chord is replaced with a chord based on the leading-tone (vii<sup>o</sup> chord).

=====Evaded cadence=====

An evaded cadence (a subtype of the inverted IAC) moves from a dominant seventh [[third inversion]] chord (V{{su|b=2|p=4}}) to a [[first inversion]] tonic chord (I{{su|p=6}}).<ref>Darcy and Hepokoski (2006). ''Elements of Sonata Theory: Norms, Types, and Deformations in the Late-Eighteenth-Century Sonata'', p.. {{ISBN|0-19-514640-9}}. "the unexpected motion of a cadential dominant chord to a I<sup>6</sup> (instead of the typically cadential I)"</ref> Because the seventh of the dominant chord must fall stepwise to the third of the tonic chord, it forces the cadence to resolve to the less stable first inversion chord. To achieve this, a root position V usually changes to a V{{su|b=2|p=4}} right before resolution, thereby "evading" the root-position I chord that would usually follow a root-position V. (See also [[#Inverted cadence|inverted cadence]] below.)

{{block indent|<score sound="1">
   \new PianoStaff <<
      \new Staff <<
         \new Voice \relative c'' {
             \stemUp \clef treble \key c \major \time 4/4
             b1 c1
             }
         \new Voice \relative c'' {
             \stemDown
              g1 g1
              }
            >>
     \new Staff <<
         \new Voice \relative c' {
             \stemUp \clef bass \key c \major \time 4/4
             d1 c1
             }
         \new Voice \relative c' {
             \stemDown
             g2 f e1 \bar "||"
             }
         >>
    >>
</score>}}

===Half cadence===
<!--[[Half cadence]], [[Half-cadence]] and [[semicadence]] redirect directly here-->A half cadence (also called an ''imperfect   cadence'' or ''semicadence'') is any cadence ending on V, whether preceded by II (V of V), ii, vi, IV, or I—or any other chord. Because it sounds incomplete or suspended, the half cadence is considered a weak cadence that calls for continuation.<ref name="Jonas">[[Oswald Jonas|Jonas, Oswald]] (1982). ''Introduction to the Theory of Heinrich Schenker'' (1934: ''Das Wesen des musikalischen Kunstwerks: Eine Einführung in Die Lehre Heinrich Schenkers''), p. 24. Trans. John Rothgeb. {{ISBN|0-582-28227-6}}.</ref><!--citation refers to semicadence-->

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             \stemUp \clef treble \key c \major \time 4/4
             c1 b
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         \new Voice \relative c'' {
             \stemDown
              g1 g
              }
            >>
     \new Staff <<
         \new Voice \relative c' {
             \stemUp \clef bass \key c \major \time 4/4
             e1 d
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         \new Voice \relative c {
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             }
         >>
    >>
</score>}}

Several types of half cadences are described below.

====Phrygian half cadence====

{{Image frame|content=<score sound="1" override_midi="Bach - Chorale- Schau Lieber Gott phrygian cadence.mid">
    {
      \new PianoStaff <<
        \new Staff <<
            \new Voice \relative c'' {
                \stemUp \clef treble \key e \minor \time 4/4
                \partial4 a4 b8 a g4 fis e8 fis g4 a b \fermata
                }
            \new Voice \relative c' {
                \stemDown
                \partial4 d4 d8 dis e4 dis e8 dis e[ g] fis e dis4
                }
            >>
        \new Staff <<
            \new Voice \relative c' {
                \stemUp \clef bass \key e \minor \time 4/4
                \partial4 a g8 a b4 b b8 a b4 c fis,
                }
            \new Voice \relative c {
                \stemDown
                \partial4 fis4 g8 fis e4 b'8[ a] g fis e d c4 b_\fermata
                }
            >>
    >> }
</score>|width=420|caption=The last two chords represent a Phrygian half cadence in Bach's four-part [[List of chorale harmonisations by Johann Sebastian Bach|chorale]], [[Schau, lieber Gott, wie meine Feind, BWV 153|Schau, lieber Gott, wie meine Feind]]{{sfn|White|1976|p=38}}}}
A Phrygian half cadence is a half cadence iv<sup>6</sup>–V in minor, so named because the semitonal motion in the bass (sixth degree to fifth degree) resembles the half-step heard in the ii–I of the 15th-century cadence in the [[Phrygian mode]]. Due to its being a survival from modal Renaissance harmony this cadence gives an archaic sound, especially when preceded by v (v–iv<sup>6</sup>–V).<ref>Finn Egeland Hansen (2006). ''Layers of Musical Meaning'', p. 208. {{ISBN|87-635-0424-3}}.</ref> A characteristic gesture in [[Baroque music]], the Phrygian cadence often concluded a slow movement immediately followed ("attacca") by a faster one.<ref>[[Don Michael Randel|Randel, Don Michael]] (2003). ''The Harvard Dictionary of Music'', p. 130. {{ISBN|0-674-01163-5}}.</ref> 
{{block indent|<score sound="1">
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             f1 g
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         \new Voice \relative c' {
             \stemDown
              c1 d
              }
            >>
     \new Staff <<
         \new Voice \relative c' {
             \stemUp \clef bass \key c \minor \time 4/4
             c1 b
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         \new Voice \relative c' {
             \stemDown
             aes1 g \bar "||"
             }
         >>
    >>
</score>}}

====Lydian cadence====
A [[Lydian cadence]] is similar to the Phrygian half cadence, involving iv<sup>6</sup>–V in the minor. The difference is that in the Lydian cadence, the whole iv<sup>6</sup> is raised by a [[half step]]. In other words, the Phrygian half cadence begins with the first chord built on [[Degree (music)|scale degree]] {{music|scale|4}}, while the Lydian half cadence is built on the scale degree {{music|sharp}}{{music|scale|4}}.{{citation needed|date=April 2012}}

{{block indent|<score sound="1">
   \new PianoStaff <<
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         \new Voice \relative c' {
             \stemUp \clef treble \key c \minor \time 4/4
             fis1 g
             }
         \new Voice \relative c' {
             \stemDown
              cis1 d
              }
            >>
     \new Staff <<
         \new Voice \relative c' {
             \stemUp \clef bass \key c \minor \time 4/4
             cis1 b
             }
         \new Voice \relative c' {
             \stemDown
             a1 g \bar "||"
             }
         >>
    >>
</score>}}

====Burgundian cadences====
Burgundian cadences became popular in [[Burgundian School|Burgundian music]]. Note the [[Contrapuntal motion#Parallel motion|parallel]] [[Fourth (interval)|fourths]] between the upper voices.{{sfn|White|1976|pp=129–130}}

{{block indent|<score sound="1">

   \new PianoStaff <<
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             \stemUp \clef treble \key c \major \time 4/4
             fis1 g
             }
         \new Voice \relative c' {
             \stemDown
              c1 d
              }
            >>
     \new Staff <<
         \new Voice \relative c' {
             \clef bass \key c \major \time 4/4
             a1 g
             }
         >>
    >>
</score>}}

====Plagal half cadence====
The rare plagal half cadence involves a I–IV progression. Like an authentic cadence (V–I), the plagal half cadence involves an ascending fourth (or, by [[Inverted chord|inversion]], a descending fifth).<ref>{{cite book|last=Harrison|first=Daniel|author-link=Daniel Harrison (musicologist)|title=Harmonic Function in Chromatic Music: A Renewed Dualist Theory and an Account of Its Precedents|date=1994|publisher=University of Chicago Press|isbn=0226318087|page=29|url=https://books.google.com/books?id=_SyNx1vr-AkC}}</ref> The plagal half cadence is a weak cadence, ordinarily at the ending of an [[Antecedent (music)|antecedent]] phrase, after which a [[Consequent (music)|consequent]] phrase commences. One example of this use is in "[[Auld Lang Syne]]". But in one very unusual occurrence – the end of the [[exposition (music)|exposition]] of the first movement of [[Johannes Brahms|Brahms]]' [[Clarinet Trio (Brahms)|Clarinet Trio, Op. 114]]—it is used to complete not just a musical phrase but an entire section of a movement.<ref>{{cite journal|last1=Notley|first1=Margaret|title=Plagal Harmony as Other: Asymmetrical Dualism and Instrumental Music by Brahms|journal=[[The Journal of Musicology]]|date=2005|volume=22|issue=1|pages=114–130|doi=10.1525/jm.2005.22.1.90}}</ref>

===Plagal cadence===<!--[[Plagal cadence]] redirects directly here.-->

A plagal cadence is a cadence from IV to I. It is also known as the ''[[Amen]] cadence'' because of its frequent setting to the text "Amen" in [[hymns]].

{{block indent|<score sound="1">
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             \stemUp \clef treble \key c \major \time 4/4
             c1 c
             }
         \new Voice \relative c'' {
             \stemDown
              a1 g
              }
            >>
     \new Staff <<
         \new Voice \relative c' {
             \stemUp \clef bass \key c \major \time 4/4
             c1 e
             }
         \new Voice \relative c {
             \stemDown
             f1 c' \bar "||"
             }
         >>
    >>
</score>}}

[[William Caplin]] disputes the existence of plagal cadences in music of the classical era although they begin to appear in the nineteenth century:

{{Quote|An examination of the classical repertory reveals that such a cadence rarely exists. ... Inasmuch as the progression IV–I cannot confirm a tonality (it lacks any leading-tone resolution), it cannot articulate formal closure .... Rather, this progression is normally part of a tonic prolongation serving a variety of formal functions – not, however a cadential one. Most examples of plagal cadences given in textbooks actually represent a postcadential codetta function: that is, the IV–I progression follows an authentic cadence but does not itself create genuine cadential closure.<ref>
{{Cite book
 | last = Caplin
 | first = William E.
 | author-link = William Caplin
 | title = Classical Form: A Theory of Formal Functions for the Instrumental Music of Haydn, Mozart and Beethoven
 | publisher = [[Oxford University Press]]
 | year = 1998
 | pages = 43–45
 | isbn = 0-19-510480-3}}</ref>|sign=|source=}}

The plagal cadence may be interpreted as I–V if the IV-I cadence is perceived as a [[Modulation (music)|modulation]] in which the IV chord becomes the I chord of the new tonic key and the I chord of the previous key is now a dominant chord in the modulated key.<ref name="Jonas"/> (Cf. [[Cadence#Half_cadence|§Half cadence]] above and [[Secondary dominant]].)

==== Minor plagal cadence ====
A minor plagal cadence, also known as a perfect plagal cadence, uses the minor iv instead of a major IV. With a very similar voice leading to a perfect cadence, the minor plagal cadence is a strong resolution to the tonic.

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             \stemUp \clef treble \key c \major \time 4/4
             c1 c
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         \new Voice \relative c'' {
             \stemDown
              aes1 g
              }
            >>
     \new Staff <<
         \new Voice \relative c' {
             \stemUp \clef bass \key c \major \time 4/4
             c1 e
             }
         \new Voice \relative c {
             \stemDown
             f1 c' \bar "||"
             }
         >>
    >>
</score>}}
====Moravian cadence====
The Moravian cadence, which can be found in the works of [[Leoš Janáček]] and [[Bohuslav Martinů]] amongst others, is a form of plagal cadence in which the outer notes of the first chord each  move inwards by a tone to the second.   (IV<sup>add6</sup> → I<sup>6</sup>).<ref>Crane-Waleczek (2011), p. 18 </ref> An early suggestion of the Moravian cadence in classical music occurs in [[Antonín Dvořák]]’s [[Symphony No. 9 (Dvořák)|''New World'' Symphony]].<ref>{{cite journal |last1=Zouhar |first1=Vit |date=2013 |title=Bohuslav Martinů's Notes on Janáček's Introduction to the Moravian Folksongs Newly Collected (Národní Písně Moravské V Nově Nasbírané) |url=https://digilib.phil.muni.cz/_flysystem/fedora/pdf/129661.pdf |journal=Musicologia Brunensia|volume=48 |issue=2 |pages=191–199 |doi= 10.5817/MB2013-2-13|access-date=20 November 2022}}</ref>

===Deceptive cadence{{anchor|Interrupted_(deceptive)_cadence}}===
<!--[[Deceptive cadence]] and [[Interrupted cadence]] redirect directly here-->
{{Image frame|content=<score sound="1" override_midi="Mozart - Sonata in C Major, K. 330, 2nd Movement deceptive cadence.mid">

    {
      \new PianoStaff <<
        \new Staff <<
            \relative c'' {
                \tempo "Andante cantabile"
                \clef treble \key f \major \time 3/4
                \partial4. c8-.(_\markup { \italic dolce } c-. c-.)
                c8.[ \grace { d32^( c b c } f16)] c8-. a( c e,)
                g4( f8)
                }
            >>
        \new Staff <<
            \new Voice \relative c {
                \clef bass \key f \major \time 3/4
                \partial4. r8 r4
                <f a c>2 <c g' bes>4
                \stemUp bes'^( a8)
                }
            \new Voice \relative c {
                \stemDown
                \partial4. s8 s4
                s2.
                d4.
                }
            >>
    >> }
</score>|width=350|caption=A deceptive cadence in the second movement of [[Mozart]]'s [[Piano Sonata No. 10 (Mozart)|Piano Sonata No. 10]]<ref name="Jonas"/>}}

Also known as an interrupted or false cadence, the deceptive cadence is a cadence from V to any chord other than the tonic (I), usually the submediant (VI).{{sfn|Latham|2002|p=193}} This is the most important [[irregular resolution]],<ref name="Foote">[[Arthur Foote|Foote, Arthur]] (2007). ''Modern Harmony in its Theory and Practice'', p. 93. {{ISBN|1-4067-3814-X}}.</ref> most commonly V<sup>7</sup>–vi (or V<sup>7</sup>–{{music|b}}VI) in major or V<sup>7</sup>–VI in minor.<ref name="Foote" /><ref>Owen, Harold (2000). ''Music Theory Resource Book'', p. 132. {{ISBN|0-19-511539-2}}.</ref> This is considered a weak cadence because of the "hanging" (suspended) feeling it invokes.
{{block indent|<score sound="1">
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         \new Voice \relative c'' {
             \stemUp \clef treble \key c \major \time 4/4
             b1 c
             }
         \new Voice \relative c'' {
             \stemDown
              g1 e
              }
            >>
     \new Staff <<
         \new Voice \relative c' {
             \stemUp \clef bass \key c \major \time 4/4
             d1 c
             }
         \new Voice \relative c' {
             \stemDown
             g1 a \bar "||"
             }
         >>
    >>
</score>}}

At the beginning of the final movement of [[Gustav Mahler]]'s [[Symphony No. 9 (Mahler)|9th Symphony]], the listener hears a string of many deceptive cadences progressing from V to IV<sup>6</sup>.{{Citation needed|date=October 2018}}

One of the most striking uses of this cadence is in the A-minor section at the end of the exposition in the first movement of [[Johannes Brahms|Brahms]]' [[Symphony No. 3 (Brahms)|Third Symphony]]. The music progresses to an implied E minor dominant (B<sup>7</sup>) with a rapid chromatic scale upwards but suddenly sidesteps to C major. The same device is used again in the recapitulation; this time the sidestep is—as one would expect—to F major, the tonic key of the whole Symphony.{{citation needed|date=October 2018}}

The interrupted cadence is also frequently used in popular music. For example, the [[Pink Floyd]] song "[[Bring the Boys Back Home]]" ends with such a cadence (at approximately 0:45–50).{{citation needed|date=October 2018}}

== Other classifications ==

===Inverted cadence===
An inverted cadence (also called a ''medial cadence'') [[Inverted chord|inverts]] the last chord. It may be restricted only to the perfect and imperfect cadence, or only to the perfect cadence, or it may apply to cadences of all types.<ref>[[Michael Kennedy (music critic)|Kennedy, Michael]], ed. (2004). ''The Concise Oxford Dictionary of Music'', p. 116. {{ISBN|0-19-860884-5}}.</ref> To distinguish them from this form, the other, more common forms of cadences listed above are known as ''radical cadences''.<ref>"Medial cadence [inverted cadence]". ''[[Grove Music Online]]''. Oxford Music Online. {{doi|10.1093/gmo/9781561592630.article.18241}}</ref>

===Rhythmic classifications===

Cadences can also be classified by their rhythmic position:

* A metrically accented cadence has its final note in a metrically strong position, typically the [[Beat (music)#Downbeat and upbeat|downbeat]] of a [[bar (music)|measure]].
* A metrically unaccented cadence has its final note in a metrically weak position, for instance, after a long [[appoggiatura]].

Metrically accented cadences are considered stronger and are generally of greater structural significance. In the past, the terms ''masculine'' and ''feminine'' were sometimes used to describe rhythmically "strong" or "weak" cadences, but these terms have not been generally used since at least the mid-1980s.<ref>{{cite book |last1=Piston |first1=Walter |last2=DeVoto |first2=Mark |title=Harmony |date=1987 |publisher=W. W. Norton |location=New York |isbn=0- 393-95480-3 |page=181 |edition=5th |quote=The definitions just given are offered in this book instead of ''masculine cadence'' and ''feminine cadence'' respectively, terms that are no longer used.}}</ref><ref>{{Cite web
  | last = Society for Music Theory
  | author-link = Society for Music Theory
  | title = Guidelines for Nonsexist Language
  | publisher = [[Western Michigan University]]
  | date = 1996-06-06
  | url = http://www.wmich.edu/mus-theo/nsl.html
  | access-date = 2008-07-19}}</ref> [[Susan McClary]] has written extensively on the gendered terminology of music and music theory in her book ''Feminine Endings.''<ref>{{Cite book
  | last = McClary | first = Susan
  | author-link = Susan McClary
  | title = Feminism and Music
  | publisher = [[University of Minnesota Press]]
  | year = 2002
  | isbn = 0-8166-4189-7
  | url = https://books.google.com/books?id=7waGip0qN6sC}}</ref>

The example below shows a metrically unaccented cadence (IV–V–I). The final chord is postponed to fall on a weak beat.<ref>[[Willi Apel|Apel, Willi]] (1970). ''Harvard Dictionary of Music''. cited in {{harvnb|McClary|2002|p=9}}.</ref>

{{block indent|<score sound="1" override_midi="Metrically_unaccented_perfect_authentic_cadence_in_C.mid">
   \new PianoStaff <<
      \new Staff <<
         \new Voice \relative c'' {
             \stemUp \clef treble \key c \major \time 4/4
             c2 b^~ b4 c2.
             }
         \new Voice \relative c' {
             \stemDown
              f2 d_~ d4 e2.
              }
            >>
     \new Staff <<
         \new Voice \relative c' {
             \stemUp \clef bass \key c \major \time 4/4
             a2 g^~ g4 g2.
             }
         \new Voice \relative c, {
             \stemDown
             f2 g_~ g4 c2. \bar "||"
             }
         >>
    >>
</score>}}

===Picardy third===
A [[Picardy third]] (or Picardy cadence) is a harmonic device that originated in Western music in the Renaissance era. It refers to the use of a major chord of the tonic at the end of a musical section that is either modal or in a minor key. The example below shows a picardy third in the final chord, from [[Johann Sebastian Bach|J.S. Bach]]'s ''[[Jesu, meine Freude, BWV 227|Jesu, meine Freude]]'' (Jesus, My Joy), mm. 12–13.{{sfn|Benward|Saker|2009|p=74}}

{{block indent|<score lang="lilypond" override_ogg="J.S.Bach, Jesu meine Freude, BWV817, mm.12-13.wav">
   \new PianoStaff <<
      \new Staff <<
         \new Voice \relative c'' {
             \stemUp \clef treble \key e \minor \time 4/4
             \partial2 b4 b a g fis2 e1
             }
         \new Voice \relative c' {
             \stemDown
              \partial2 e4 e8 dis e fis g e e4 dis b1
              }
            >>
     \new Staff <<
         \new Voice \relative c' {
             \stemUp \clef bass \key e \minor \time 4/4
             \partial2 g8 a b4 c b cis b8 a! gis1
             }
         \new Voice \relative c {
             \stemDown
             \partial2 e8 fis g e c d e c ais4 b e,1
             }
         >>
    >>
</score>}}

===Upper leading-tone cadence===
{{Listen|type=music
|filename=Escribano - Lamentation, upper leading-tone cadence.mid|title=Upper-leading tone trill
|filename2=Escribano - Lamentation, upper leading-tone cadence diatonic.mid|title2=Diatonic trill}}
This example from a well-known 16th-century lamentation shows a cadence that appears to imply the use of an [[Upper leading tone|upper leading-tone]], a debate over which was documented in Rome c.&nbsp;1540.<ref>Berger, Karol (1987). ''Musica Ficta: Theories of Accidental Inflections in Vocal Polyphony from Marchetto da Padova to Gioseffo Zarlino'', p. 148. Cambridge and New York: Cambridge University Press. {{ISBN|0-521-54338-X}}.</ref> The final three written notes in the upper voice are printed B–C–D, in which case the customary [[trill (music)|trill]] on the second to last note should be played using D and C. However, convention implied that the written C should be played as a C{{music|sharp}} in this context, and a [[cadential trill]] of a [[whole tone]] on the second to last note would then require a D{{music|sharp}}/E{{music|flat}}, the upper leading-tone of D{{music|natural}}. Presumably, the debate was over whether to use D{{music|sharp}}–C{{music|sharp}} or D–C{{music|sharp}} for the trill.

{{block indent|<score sound="1" override_midi="Escribano - Lamentation, upper leading-tone cadence.mid">
    { << \new StaffGroup <<
        \new Staff <<
            \clef treble \time 2/2
            \relative c' {
                \clef treble \time 2/2
                e2 f2~ f4 e d2~ d4 \once \set suggestAccidentals = ##t cis8 b \once \set suggestAccidentals = ##t cis!2 d1\fermata
                }
            >>
        \new Staff <<
            \clef treble \time 2/2
            \new Voice \relative c' {
                r2 a f g a1 a1\fermata
                }
            >>
        \new Staff <<
            \clef bass \time 2/2
            \new Voice \relative c' {
                a1 d, e d\fermata
                }
            >>
        \new Staff <<
            \clef bass \time 2/2
            \new Voice \relative c {
                a1 bes a d\fermata \bar "|."
                }
            >>
    >>
>> }
</score>}}

==In medieval and Renaissance polyphony==
[[Medieval music|Medieval]] and [[Renaissance music|Renaissance]] cadences are based upon [[dyad (music)|dyads]] rather than chords. The first theoretical mention of cadences comes from [[Guido of Arezzo]]'s description of the ''occursus'' in his [[Micrologus]], where he uses the term to mean where the two lines of a two-part [[polyphony|polyphonic]] phrase end in a [[unison]].

=== Clausula vera ===
{{Image frame|content=<score sound="1">
    { << \new StaffGroup <<
        \new Staff <<
            \set Staff.midiInstrument = #"voice oohs"
            \clef treble \time 4/2
            \relative c'' {
                \clef treble \time 4/2
                c4 a d1 cis2 d\breve
                }
            >>
        \new Staff <<
            \set Staff.midiInstrument = #"voice oohs"
            \clef treble \time 4/2
            \new Voice \relative c' {
                f2 e4 d e2 e d\breve \bar "|."
                }
            >>
    >>
>> }
</score>|width=300|caption=A clausula vera cadence from [[Lassus]]'s ''[[Beatus homo]]'', mm. 34–35.<ref name="B&S" /> }}

A clausula or clausula vera ("true close") is a dyadic or intervallic, rather than chordal or [[harmony|harmonic]], cadence. In a clausula vera, two voices approach an [[octave]] or [[unison]] through [[steps and skips|stepwise motion]]<ref name="B&S">{{harvnb|Benward|Saker|2009|p=13}}</ref> in [[contrapuntal motion|contrary motion]].

{{block indent|<score sound="1" override_midi="Renaissance full cadence.mid">
    { << \new StaffGroup <<
        \new Staff <<
            \clef treble \time 4/4
            \relative c'' {
                \clef treble \time 4/4
                b1 c
                }
            >>
        \new Staff <<
            \clef treble \time 4/4
            \new Voice \relative c' {
                d1 c \bar "||"
                }
            >>
    >>
>> }
</score>}}

{{Image frame|content=<score sound="1">
    { 
      \override Score.SpacingSpanner.strict-note-spacing = ##t
  \set Score.proportionalNotationDuration = #(ly:make-moment 1/2)
    << \new StaffGroup <<
        \new Staff <<
            \set Score.tempoHideNote = ##t \tempo 2 = 60
            \set Staff.midiInstrument = #"voice oohs"
            \clef treble \time 4/2
            \relative c'' {
                \clef treble \time 4/2 \key g \dorian
                bes4 a g1 fis2 g\breve
                }
            >>
        \new Staff <<
            \set Staff.midiInstrument = #"voice oohs"
            \clef "treble_8" \time 4/2 \key g \dorian
            \new Voice \relative c' {
                g1 a g\breve
                }
            >>
        \new Staff <<
            \set Staff.midiInstrument = #"voice oohs"
            \clef bass \time 4/2 \key g \dorian
            \new Voice \relative c {
                es1 d g,\breve \bar "|."
                }
            >>
    >>
>> }
</score>|width=340|caption=A three-voice clausula vera from [[Giovanni Pierluigi da Palestrina|Palestrina]]'s ''[[Magnificat Secundi Toni: Deposuit potentes]]'', mm. 27–28.<ref name="B&S" />}}

In three voices, the third voice often adds a falling fifth creating a cadence similar to the authentic cadence in tonal music.<ref name="B&S" />

{{block indent|<score sound="1">
    { << \new StaffGroup <<
        \new Staff <<
            \clef treble \time 4/4
            \relative c'' {
                \clef treble \time 4/4
                b1 c
                }
            >>
        \new Staff <<
            \clef treble \time 4/4
            \relative c' {
                d1 c
                }
            >>
        \new Staff <<
            \clef bass \time 4/4
            \relative c' {
                g1 c, \bar "||"
                }
            >>
    >>
>> }
</score>}}

According to [[Carl Dahlhaus]], "as late as the 13th century the [[half step]] was experienced as a problematic interval not easily understood, as the remainder between the [[perfect fourth]] and the [[ditone]]:<ref>{{cite book|last=Dahlhaus|first=Carl|author-link=Carl Dahlhaus|title=Studies in the Origin of Harmonic Tonality|translator=[[Robert Gjerdingen|Robert O. Gjerdingen]]|publisher=Princeton University Press|year=1990|isbn=0-691-09135-8|url=https://archive.org/details/studiesonorigino0000dahl}}</ref>

:<math>\frac{\frac43}{\left(\frac98\right)^2} = \frac{256}{243}</math>
In a melodic half step, listeners of the time perceived no tendency of the lower tone toward the upper, or the upper toward the lower. The second tone was not the 'goal' of the first. Instead, musicians avoided the half step in clausulas because, to their ears, it lacked clarity as an interval. Beginning in the 13th century, cadences begin to require motion in one voice by half step and the other a [[whole step]] in contrary motion.

=== Plagal cadence ===
A plagal cadence was found occasionally as an interior cadence, with the lower voice in two-part writing moving up a perfect fifth or down a perfect fourth.<ref name="B&S 14">{{harvnb|Benward|Saker|2009|p=14}}</ref>

{{block indent|<score sound="1" override_midi="Renaissance plagal cadence.mid">
    { << \new StaffGroup <<
        \new Staff <<
            \clef treble \time 4/4
            \relative c'' {
                \clef treble \time 4/4
                e1 d
                }
            >>
        \new Staff <<
            \clef treble \time 4/4
            \new Voice \relative c' {
                c1 g' \bar "||"
                }
            >>
    >>
>> }
</score>}}

=== Rest ===
A [[rest (music)|rest]] in one voice may also be used as a weak interior cadence.<ref name="B&S 14" /> The example below, Lassus's ''Qui vult venire post me'', mm. 3–5, shows a rest in the third measure.

{{block indent|<score sound="1">
    { << \new StaffGroup <<
        \new Staff <<
            \set Score.tempoHideNote = ##t \tempo 2 = 66
            \set Staff.midiInstrument = #"voice oohs"
            \clef treble \time 4/2
            \relative c' {
                \clef "treble_8" \time 4/2 \key g \dorian
                r2 g a1 bes c bes r2 c
                }
            \addlyrics { ve -- ni -- re post me, ve -- }
            >>
        \new Staff <<
            \set Staff.midiInstrument = #"voice oohs"
            \clef bass \time 4/2 \key g \dorian
            \new Voice \relative c {
                e1 f g f r2 g a1
                }
            \addlyrics { ni -- re post me, ve -- ni -- }
            >>
    >>
>> }
</score>}}

=== Evaded cadence ===
In [[counterpoint]], an evaded cadence is one where one of the voices in a [[suspension (music)|suspension]] does not resolve as expected, and the voices together resolve to a consonance other than an octave or unison<ref>Schubert, Peter (1999). ''Modal Counterpoint, Renaissance Style'', p. 132. {{ISBN|0-19-510912-0}}.</ref> (a perfect fifth, a sixth, or a third).

=== Corelli cadence ===
The [[Corelli cadence]], or Corelli clash, named for its association with the [[violin]] music of the [[Corelli school]], is a cadence characterized by a [[Major second|major]] and/or [[minor second]] clash between the [[Tonic (music)|tonic]] and the [[leading-tone]] or the tonic and [[supertonic]]. An example is shown below.{{sfn|Latham|2002|p=192}}

{{block indent|<score sound="1">
   \new PianoStaff <<
      \new Staff <<
         \set Score.tempoHideNote = ##t \tempo 4 = 72
         \set Staff.midiInstrument = #"voice oohs"
         \new Voice \relative c'' {
             \stemUp \clef treble \key a \minor \time 3/4
             c4 b4. a8 a2.
             }
         \new Voice \relative c'' {
             \stemDown
              a4 a4. gis8 a2.
              }
            >>
     \new Staff <<
         \new Voice \relative c' {
            \set Staff.midiInstrument = #"voice oohs"
             \clef bass \key a \minor \time 3/4
             c8 d e4 e, a2.
             }
         >>
    >>
</score>}}

=== English cadence ===
Another "clash cadence", the [[English cadence]], is a [[contrapuntal]] pattern particular to the authentic or perfect cadence. It features the [[Blue note|blue seventh]] against the [[dominant chord]],<ref>[[Peter van der Merwe (musicologist)|van der Merwe, Peter]] (2005). ''Roots of the Classical: The Popular Origins of Western Music'', p. 492. {{ISBN|0-19-816647-8}}.</ref> which in the [[Key (music)|key]] of C would be '''B{{music|flat}}''' and G–'''B{{music|natural}}'''–D. Popular with English composers of the [[High Renaissance]] and [[English Restoration|Restoration]] periods in the 16th and 17th centuries, the English cadence is described as sounding archaic<ref>Carver, Anthony (1988). ''The Development of Sacred Polychoral Music to the Time of Schütz'', p. 136. {{ISBN|0-521-30398-2}}. If the clash cadence is already "archaic, [and/or] mannered" in the music of [[Heinrich Schütz]] (1585-1672) it must surely be so now.</ref> or old-fashioned.<ref>[[Rebecca Herissone|Herissone, Rebecca]] (2001). ''Music Theory in Seventeenth-Century England'', p. 170. {{ISBN|0-19-816700-8}}.</ref> It was first given its name in the 20th century.

The hallmark of this device is the [[Consonance and dissonance|dissonant]] [[augmented octave]] (compound [[augmented unison]]) produced by a [[false relation]] between the split seventh [[Degree (music)|scale degree]], as shown below in an excerpt from ''[[O sacrum convivium]]'' by [[Thomas Tallis]]. The [[courtesy accidental]] on the tenor's G{{music|natural}} is editorial.

{{block indent|<score sound="1">
    { 
#(set-global-staff-size 18)
      \override Score.SpacingSpanner.strict-note-spacing = ##t
  \set Score.proportionalNotationDuration = #(ly:make-moment 1/16)
    << \new StaffGroup <<
        \new Staff <<
            \set Score.tempoHideNote = ##t \tempo 4 = 72
            \set Staff.midiInstrument = #"voice oohs"
            \clef treble \time 4/4
            \relative c' {
                \clef treble \time 4/4
                f8 e a2 \once \override NoteHead.color = #red gis4 a1
                }
            \addlyrics { (su) -- _ _ mi -- tur, }
            >>
        \new Staff <<
            \set Staff.midiInstrument = #"voice oohs"
            \clef treble \time 4/4
            \new Voice \relative c' {
                d4. c8 b4 b a1
                }
            \addlyrics { su -- _ _ mi -- tur, }
            >>
        \new Staff <<
            \set Staff.midiInstrument = #"voice oohs"
            \clef treble \time 4/4
            \new Voice \relative c' {
                f4 f e4. d8 cis2. e4
                }
            \addlyrics { Chri -- stus su -- mi -- tur, re- }
            >>
        \new Staff <<
            \set Staff.midiInstrument = #"voice oohs"
            \clef "treble_8" \time 4/4
            \new Voice \relative c' {
                a4 f \once \override NoteHead.color = #red g?4. f8 e1
                }
            \addlyrics { su -- _ _ mi -- tur, }
            >>
        \new Staff <<
            \clef bass \time 4/4
            \new Voice \relative c {
                d4 d e e a,1
                }
            \addlyrics { Chri -- stus su -- mi -- tur, }
            >>
    >>
>> }
</score>}}

=== Landini cadence ===
A [[Landini cadence]] (also known as a ''Landini sixth'', ''Landini sixth cadence'', or ''under-third cadence''<ref name="Merwe">[[Peter van der Merwe (musicologist)|van der Merwe, Peter]] (2005). ''Roots of the Classical: The Popular Origins of Western Music'', p. 501. {{ISBN|0-19-816647-8}}.</ref>) is a cadence that was used extensively in the 14th and early 15th century. It is named after [[Francesco Landini]], a composer who used them profusely. Similar to a clausula vera, it includes an [[Nonchord tone|escape tone]] in the upper voice, which briefly narrows the interval to a [[perfect fifth]] before the octave.

{{block indent|<score sound="1">
    { << \new StaffGroup <<
        \new Staff <<
            \clef treble \time 4/4
            \relative c'' {
                \clef treble \time 4/4
                b2 a c1
                }
            >>
        \new Staff <<
            \clef treble \time 4/4
            \new Voice \relative c' {
                d1 c \bar "||"
                }
            >>
    >>
>> }
</score>}}

==Common practice period==
The classical and romantic periods of musical history provide many examples of the way the different cadences are used in context.

===Authentic cadences and half cadences===
[[Mozart]]’s Romanze from his [[Piano Concerto No. 20 (Mozart)|Piano Concerto No. 20]] follows a familiar pattern of a pair of phrases, one ending with a half (imperfect) cadence and the other with an authentic cadence:[[File:Mozart Romanze from Piano Concerto 20.wav|thumb|Mozart Romanze from Piano Concerto 20]][[File:Mozart Romanze from Piano Concerto 20.png|thumb|center|500px|Mozart Romanze from Piano Concerto 20]]The [[Glossary of music terminology#P|presto]] movement from [[Beethoven]]’s [[String Quartet No. 13 (Beethoven)|String Quartet Op 130]] follows the same pattern, but in a minor key:[[File:Beethoven Presto from Quartet Op. 130.wav|thumb|Beethoven Presto from Quartet Op. 130]][[File:Beethoven Presto from Quartet Op. 131.png|thumb|center|500px|Beethoven Presto from Quartet Op. 130]]

===Plagal cadences===
The Hallelujah Chorus from [[Handel]]’s [[Messiah (Handel)|''Messiah'']] culminates powerfully with an iterated plagal cadence:[[File:Handel, Messiah, Hallelujah Chorus closing bars 01.wav|thumb|Handel, Messiah, Hallelujah Chorus closing bars]][[File:Handel, Messiah, Hallelujah Chorus closing bars 02.png|thumb|center|500px|Handel, Messiah, Hallelujah Chorus closing bars]][[Debussy]]’s [[Preludes (Debussy)|prelude]] ‘La Fille aux Cheveux de Lin’ contains a plagal cadence in its 2nd and 3rd bars :[[File:Debussy la Fille aux cheveux de lin, bars 1-4.wav|thumb|Debussy la Fille aux cheveux de lin, bars 1-4]][[File:Debussy la Fille aux cheveux de lin, bars 1-4.png|thumb|center|500px|Debussy La Fille aux Cheveux de Lin, bars 1-4]] One of the most famous endings in all music is found in the concluding bars of [[Wagner]]’s opera ''[[Tristan und Isolde]]'', where the [[Tristan chord|dissonant chord]] in the opening phrase of the opera is finally resolved "three enormous acts and five hours later"<ref>Small, C. (1977, p. 15), Music-Society-Education. London, John Calder.</ref> in the form of a minor plagal cadence:[[File:Wagner, Tristan, Liebestod closing bars 01.wav|thumb|Wagner, Tristan, Liebestod closing bars]][[File:Wagner, Tristan, Liebestod closing bars.png|thumb|center|500px|Wagner, Tristan, Liebestod closing bars]]

===Deceptive cadences===
In [[Bach]]'s harmonization of the [[chorale]] ‘[[Wachet auf]]’, a phrase ending in a deceptive cadence repeats with the cadence changed to an authentic one: [[File:From Bach chorale, Wachet auf 01.wav|thumb|From Bach chorale, Wachet auf]][[File:From Bach chorale, Wachet auf.png|thumb|center|500px|From Bach chorale, Wachet auf]]The exposition of the first movement of Beethoven’s [[Piano Sonata No. 21 (Beethoven)|Piano Sonata No. 21]] (The Waldstein Sonata), Op. 53 features a minor key passage where an authentic (perfect) cadence precedes a deceptive (interrupted) one:
[[File:Beethoven Piano Sonata 21, 1st movement, bars 78-84.wav|thumb|Beethoven Piano Sonata 21, 1st movement, bars 78-84]]
[[File:Beethoven Piano Sonata 21, 1st movement, bars 78-84.png|thumb|center|500px|Beethoven Piano Sonata 21, 1st movement, bars 78–84]][[Dvořák]]’s [[Slavonic Dances|Slavonic Dance]], Op. 72, No. 2 features deceptive (interrupted), half (imperfect) and authentic (perfect) cadences within its first sixteen bars:[[File:Dvorak Slavonic Dance Op 72, No. 2.wav|thumb|Dvořák Slavonic Dance Op 72, No. 2]][[File:Dvorak Slavonic Dance Op 72, No. 3.png|thumb|center|600px|Dvořák Slavonic Dance Op 72, No. 2]]
Debussy's Prelude “La fille aux cheveux de lin” (see also above) concludes with a passage featuring a deceptive (interrupted) cadence that progresses, not from V–VI, but from V–IV:
[[File:Debussy, La Fille aux cheveux de lin, bars 26-29.wav|thumb|Debussy, La Fille aux cheveux de lin, bars 26–29]]
[[File:Debussy, La Fille aux cheveux de lin, bars 26-30.png|thumb|center|500px|Debussy, La Fille aux cheveux de lin, bars 26–29]]
Some varieties of deceptive cadence that go beyond the usual V–VI pattern lead to some startling effects. For example, a particularly dramatic and abrupt deceptive cadence occurs in the second Presto movement of Beethoven’s [[Piano Sonata No. 30 (Beethoven)|Piano Sonata No. 30]], Op. 109, bars 97–112, "a striking passage that used to pre-occupy theorists".<ref>[[Charles Rosen|Rosen, Charles]]. (2002, p. 232) ''Beethoven's Piano Sonatas: a Short Companion''. Yale University Press.</ref> The music at this point is in B minor, and carries the expectation is that the chord of F sharp (Chord V) will be followed by the tonic chord of B. However, "Dynamics become softer and softer; dominant and tonic chords of B minor appear isolated on the first beat of a bar, separated by silences: until in sudden fortissimo&nbsp;... the recapitulation bursts on us in the tonic E minor, the B minor dominants left unresolved."<ref>[[Wilfrid Mellers|Mellers, W.]] (1983, p. 210), ''Beethoven and the Voice of God''. London, Faber.</ref>
[[File:Beethoven Piano Sonata Op 109, 2nd movement, bars 97-112.wav|thumb|Beethoven Piano Sonata Op 109, 2nd movement, bars 97–112]]
[[File:Beethoven Piano Sonata Op 109, 2nd movement, bars 97-112.png|thumb|center|500px|Beethoven Piano Sonata Op 109, 2nd movement, bars 97–112]]
An equally startling example occurs in J.S. Bach's [[Toccata and Fugue in F major, BWV 540]]:
[[File:Bach Toccata in F deceptive cadence.wav|thumb|Bach Toccata in F, BWV 540 bars 197–207]]
[[File:Bach Toccata in F, BWV 540 bars 197-207.png|thumb|center|500px|Bach Toccata in F, BWV 540 bars 197–207]]
According to [[Richard Taruskin]], in this Toccata, "the already much-delayed resolution is thwarted (m204) by what was the most spectacular 'deceptive cadence' anyone had composed as of the second decade of the eighteenth century&nbsp;... producing an especially pungent effect."<ref>[[Richard Taruskin|Taruskin, R.]] (2005, p. 213), ''The Oxford History of Western Music'', vol. 2, "Music of the Seventeenth and Eighteenth Centuries". Oxford University Press.</ref> [[Hermann Keller]] describes the effect of this cadence as follows: "the splendour of the end with the famous [[third inversion]] of the seventh chord, who would not be enthralled by that?"<ref>{{ill|Franz Hauk|de|lt=Hauk, Franz}} and Iris Winkler (translated by Regina Piskorsch-Feick), 2001, from liner notes p. 4 for recording by Franz Hauk, ''Johann Sebastian Bach Organ Masterworks'', Guild Music GMCD 7217</ref>

[[Chopin]]'s [[Fantaisie in F minor (Chopin)|Fantaisie, Op. 49]], composed over a century later in 1841, features a similar harmonic jolt:
[[File:Chopin Fantaisie in F minor.wav|thumb|Chopin Fantaisie in F minor, Op. 49]]
[[File:Chopin Fantaisie in F minor, Op.50.png|thumb|center|500px|Chopin Fantaisie in F minor, Op. 49]]
A deceptive cadence is a useful means for extending a musical narrative. In the closing passage of Bach’s [[Prelude and Fugue in F minor, BWV 881|Prelude in F minor]] from Book II of the ''[[Well-Tempered Clavier]]'', the opening theme returns and seems headed towards a possible final resolution on an authentic (perfect) cadence. What the listener may expect is:
[[File:Bach, Prelude in F minor, bars 57-60 with expected conclusion.wav|thumb|Bach, Prelude in F minor, bars 57–60 with expected conclusion]]
[[File:Bach, Prelude in F minor, bars 57-60 with expected conclusion.png|thumb|center|500px|Bach, Prelude in F minor, bars 57–60 with expected conclusion]]
Instead, at bar 60, Bach inserts a deceptive cadence (V–VI in F minor), leading to a lengthy digression of some dozen bars before reaching resolution on the final (V–I) cadence.
[[File:Bach, Prelude in F minor bars 57-70.wav|thumb|Bach, Prelude in F minor bars 57–70]]
[[File:Bach, Prelude in F minor bars 57-70.png|thumb|center|500px|Bach, Prelude in F minor bars 57–70]]
A similar passage occurs at the conclusion of [[Mozart]]'s [[Fantasia No. 3 (Mozart)|Fantasia in D minor]], K397:
[[File:Mozart Fantasia on D minor K397 closing bars 01.wav|thumb|Mozart Fantasia on D minor K397 closing bars]]
[[File:Mozart Fantasia on D minor K397 closing bars 02.png|thumb|center|500px|Mozart Fantasia on D minor K397 closing bars]]

==Jazz==
Cadences in [[jazz]] are usually simply called cadences, as in common practice harmony. However, a certain category of cadence is referred to as a [[turnaround (music)|''turnaround'']] (originally called a "turnback" which is more accurate); this is when a cadence functions as a return to an already existing part of a song form such as AABA. In an AABA form, there are two turnbacks: at the end of the first A (A1) in order to repeat it (A2), and at the end of the B section in order to play the A a third time (A3). (The transition from the second A to the B is not a turnback, because the B section is being heard for the first time.)

[[Half-step]] cadences are common in jazz if not cliché.{{what?|date=November 2022}}<ref>Norman Carey (Spring, 2002). Untitled review: "''Harmonic Experience'' by [[W. A. Mathieu]]", p. 125. ''[[Music Theory Spectrum]]'', vol. 24, no. 1, pp. 121–134.</ref> For example, the ascending diminished seventh chord half-step cadence, which—using a [[secondary leading-tone chord|secondary diminished seventh chord]]—creates momentum between two chords a major second apart (with the diminished seventh in between).<ref name="L&H">Richard Lawn, Jeffrey L. Hellmer (1996). ''Jazz: Theory and Practice'', pp. 97-98. {{ISBN|978-0-88284-722-1}}.</ref>

{{block indent|<score sound="1"> {
    \relative c' {
        \time 4/4
        <b d f aes>1 <c es g bes> \bar "||"
    }
}
</score>}}

The descending diminished seventh chord half-step cadence is assisted by two [[common tone (chord)|common tones]].<ref name="L&H" />

{{block indent|<score sound="1"> {
    \relative c' {
        \time 4/4
        <des e g bes>1 <c es g bes> \bar "||"
    }
}
</score>}}

==Rhythmic cadence==
Cadences often include (and may be emphasized or signalled by) a change in the prevailing rhythmic pattern; in such cases the final note of the cadence usually takes more time (a longer note value, or followed by a rest, or both), and within a piece of music the cadences may also share a rhythmic pattern that is characteristic of the cadences in that piece. This method of ending a phrase with some distinctive rhythmic pattern has been called a "rhythmic cadence"; rhythmic cadences continue to function without harmony or melody, for example at the ends of phrases in music for drums. Some styles of music rely on frequent regular rhythmic cadences as a unifying feature of that style.<ref name="B&S 91"/> The example below shows a characteristic rhythmic cadence (i.e. many of the cadences in this piece share this rhythmic pattern) at the end of the first phrase (in particular the last two notes and the following rest, contrasted with the regular pattern set up by all the notes before them) of [[Johann Sebastian Bach|J.S. Bach]]'s [[Brandenburg Concertos#No. 3 in G major, BWV 1048|''Brandenburg Concerto'' No. 3]] in G major, BMV 1048, mvmt. I, mm. 1–2:

{{block indent|<score sound="1">
\relative c'' {

   \set Staff.midiInstrument = #"violin"
   \clef treble
   \time 2/2
   \key g \major
   \set Score.tempoHideNote = ##t \tempo 4 = 96

   \partial8 g16 fis 16
   g8[ d16 c] d8[ g16 fis] g8[ b,16 a] b8[ g'16 fis]
   g8[ g,16 a] b8[ cis] d4 r
} </score>}}

==See also==
{{div col|colwidth=30em}}
* [[Andalusian cadence]]
* [[Approach chord]]
* [[Second inversion#Cadential|Cadential six-four]]
* [[Coda (music)|Coda]]
* [[Cadenza]]
* [[Drum cadence]]
* [[Cadence rampa|Kadans]]
* [[Lament bass]]
* [[List of Caribbean music genres]]: [[cadence-lypso]] and [[cadence rampa]]
* [[V–IV–I turnaround]]
* [[♭VII–V7 cadence|{{music|b}}VII–V<sup>7</sup> cadence]]
{{div col end}}

==References==
{{Reflist}}
===Sources===
* {{cite book|last1=Benward|first1=Bruce|last2=Saker|first2=Marilyn|year=2003|title=Music in Theory and Practice|volume=I|publisher=McGraw-Hill |edition=7th|isbn=978-0-07-294262-0}}
* {{cite book|last1=Benward|first1=Bruce|last2=Saker|first2=Marilyn Nadine|year=2009|title=Music in Theory and Practice|volume=II|edition=8th|location=Boston|publisher=McGraw-Hill|isbn=978-0-07-310188-0}}
* {{cite thesis |last=Crane-Waleczek |first=Jennifer |date=2011 |title=An Overview of Bohuslav Martinů's Piano Style with a Guide to Analysis and Interpretation of the Fantasie et Toccata, H. 281 |type= |chapter= |publisher=Arizona State University |docket= |oclc= |url=https://core.ac.uk/download/pdf/79563487.pdf |access-date=11 November 2022}}
* {{cite book|editor-last=Latham|editor-first=Alison|year=2002|title=The Oxford Companion to Music|isbn=0-19-866212-2}}

{{Cadences}}
{{Chord progressions}}
{{Consonance and dissonance}}
{{Harmony}}
{{Melody}}
{{Tonality}}
{{Authority control}}

{{DEFAULTSORT:Cadence (Music)}}
[[Category:Cadences|*]]
[[Category:Jazz terminology]]
[[Category:Musical terminology]]