VIEW THE MOBILE VERSION of www.sings.ca Informational Site Network Informational
Privacy
  Home - Music Terms - Music Lessons - How to Sing - Music History - Singing Choirs - Children Songs - The Voice - Advice for Singers
   Lyrics: by Arist - (HED) P.E. to BREAKING POINT - BRIAN MCFADDEN to FINGERTIGHT - FIONA APPLE to JUSTIN GUARINI - JUSTIN TIMBERLAKE to MURPHY LEE - MUSE to SARINA PARIS - SASH to THREE 6 MAFIA - THREE DAYS GRACE to ZWAN

Most Viewed

The Double-period
Distinction Between Bipartite And Tripartite Forms
Lesson 4
Causes
The Sonatine Form
The Exposition
The Recapitulation
T The Second Rondo Form
The Third Rondo Form
The Necessity Of Form In Music


Least Viewed

The Exposition
The Recapitulation
Causes
Lesson 19
Inherent Irregularity
Modified Repetitions
Lesson 11
2 Abbreviation Of The Regular Form
Application Of The Forms
Lesson 3


Random Music Lessons

Group Of Parts
The Period
Lesson 9
Contents Of The Phrase
Lesson 15
Exact Repetitions
Relation To The Three-part Song-form
Application Of The Forms
Lesson 17
Lesson 8



Cadences In General





A cadence is the ending of a phrase. Strictly
speaking, every interruption or break between figures, and between
all melodic members, is a cadence; but the term cadence is applied to
nothing smaller than entire phrases.

The cadence is the point of Repose which creates the necessary contrast
with the condition of Action that prevails more or less constantly
during the phrase; and the effect of this point of repose is,
therefore, to separate one phrase from the next. The cadential effect
is generally produced by two or three chords, the last one of which is
called the cadence-chord, and stands, when the cadence is perfectly
regular, upon an accented beat of the final measure. This, according
to our definition of the phrase, will most commonly be the fourth
measure.

For example:



The first chord in the fourth measure, on the accented beat, is the
cadence-chord; but the preceding chord (and possibly the one before
that, also) is naturally inseparable from the final one, and therefore
the entire cadence would be defined technically as embracing both (or
all three) of these chords. The effect of repose is obtained by the
length of the final chord, which exceeds that of any other melody tone
in the phrase; its time-value is a dotted quarter, because of the
preliminary tone (e, before the first accent) which, in the original
(op. 68, No. 28), precedes the next phrase in exactly the same manner.

Illustrations of the regular cadence will be found, also, in Ex. 15 and
Ex. 16; in the latter,--consisting as it does of four consecutive
phrases, four cadences occur, distinctly marked by the longer tone on
the accented beat of each successive fourth measure.





Next: Modification Or Disguising Of The Cadence

Previous: Lesson 4



Add to del.icio.us Add to Reddit Add to Digg Add to Del.icio.us Add to Google Add to Twitter Add to Stumble Upon
Add to Informational Site Network
Report
Privacy
SHAREADD TO EBOOK


Viewed 1279