A Look at Cadence

A Look at Cadence

“The commonest cadences are: (a) Perfect cadence (for full close).  Chord of the Dominant followed by that of the tonic. (b) Interrupted cadence.  Chord of the dominant followed by that of the submediant. (c) Imperfect Cadence (or half close). Chord of the tonic or some other chords followed by that of dominant.  (d) Plagal cadence.  Chord of the subdominant followed by that of tonic."

Kennedy & Kennedy (2007)

I found this quote interesting and decided to further explore the use of these forms of cadence and their influence of compositions.

Perfect Cadence

The V – I (major) or V – i (minor) cadence, sometimes using V7 or IV – V – I, has been described as “virtually obligatory as the final structural cadence of a tonal work." Randel (1999:105).  It is often seen as a strong way to define the key, define key moments and provide harmonic and melodic closure to any piece. 

To achieve this form of perfect cadence, the root of each chord should be on the lowest note played (in the bass) and the final chord must contain the tonic in the highest voice.  An example of this perfect cadence can be found in the closing bars of Beethoven’s Piano Sonata No.8 Op.13 (1779) where the chord moves from the dominant G-min (V) to the tonic of C-min (I). 

Of course there are variants upon this perfect cadence, but the principle of moving from V – I remains the same. 

Interrupted Cadence

Interrupted cadences can be described as a surprise to the listener.  When they are expecting to hear perfect cadence (V – I), the dominant chord (V) instead moves to any chord, other than the tonic, thus continuing the feeling the music.  This is often seen by the dominant chord (although commonly V7) moving to vi in Major or VI in Minor.

This form of cadence in often used to prolong the sense of resolution for the listener, most famously seen in the Coda of Bach’s Passacaglia and Fugue in C minor (BWV 582) (1730) in which we still the use of the V chord to provide ‘fake cadence’ and build the listener's sense of desperation for that final resolution of the tonic.

Imperfect Cadence

An imperfect cadence can be any chord progression that ends on the dominant, thus feeling unfinished and calling for resolution.  Therefore, if the piece is composed in C-major, we may see a progress of C – E  - F – G.  By ending on the dominant chord of G, the whole feel of the piece changes to a ‘suspended’ feeling, desperately calling for either the resolution of the tonic or the continuation of the composition.   

If the chord preceding the V is the tonic (I), it provides the exact opposite of the Perfect cadence, and could therefore be used to open a section or create the idea of a new beginning.  However, if the preceding note carries a relationship to the fifth degree, i.e. using the ii, then it forms the beginning of the commonly used cadence ii – V – I.

Plagal Cadence

Plagal cadence in the method of moving from VI – I and is often referred to as the ‘Amen cadence’ as it is frequently used in hymns with the syllables of Amen being set to each chord.  This progression is believed to be a weaker form of cadence as the VI degree has less ‘pull’ to the tonic.  When playing around with the use of a plagal cadence on my piano, I found it to give the feeling of relaxation and calm. 

There are of course, a huge variety of possibilities in terms of cadence and my research here has only touched upon its abilities.  However, I did come across an interesting idea, popular mainly in the baroque periods called Tierce de Picardie.  This method follows the idea that the final chords of a piece written in a minor key, can be finished with the same root note’s major chord i.e. a piece composed in C-minor would expect a resolution of C-minor; however this method uses the idea of resolving and finishing the piece with a C-major chord instead. 

Cadenza

A cadenza was originally designed to be a vocal flourish as part of an Aria and later developing in more of a instrumental ‘solo’ seen in concertos, sometimes improvised, sometimes composed, whilst the rest of the Orchestra or Ensemble rest.  Many composers have made use of a cadenza in their compositions, but they are not to be used without caution.  I have recently heard many attempts at a cadenza which I feel spoils the original feel and movement of the composition.  However, there are many examples in which the cadenza proves to be a textural gem within a composition.  Please see my listening log for further thoughts and ideas on cadenzas.