Dictionary of Music - Birding America

cadenza 57the DOMINANT (V), the last chord is the TONIC (I). Inthe perfect authentic cadence, the tonic note is inthe soprano. For example, in the key of C major:fig. 42 p/u from p. 60at the end of a movement that is followed by anothermovement: the next-to-last chord, often the subdominant(IV), belongs to the key of the movement,which is major, and the last chord is the dominant(V) of the relative minor key (see KEY, def. 3). Forexample, in the key of C major:—plagal cadence A cadence that also gives a senseof complete finality: the next-to-last chord is theSUBDOMINANT (IV), the last chord is the tonic (I). Inthe perfect plagal cadence, the tonic note is in thesoprano. For example, in the key of C major:fig. 43 p/u from p. 60—imperfect cadence Also, half cadence. A cadencethat gives the feeling that more is to come and thereforeis used in the middle of a section: the next-tolastchord is the tonic (I), and the last is the dominant(V) or, occasionally, the subdominant (IV). Forexample, in the key of C major:fig. 44 p/u from p. 60fig. 46 p/u from p. 60—masculine cadence Also, masculine ending. Anycadence in which the final chord falls on a strong oraccented beat in a measure. —feminine cadenceAlso, feminine ending. Any cadence in which thefinal chord falls on an unaccented beat in a measure.(See also HARMONY; LANDINI CADENCE.)cadenza (kä den′dzä) Italian. A musical passagethat gives soloists a chance to show off their technicalskill in performing difficult runs, arpeggios, andthe like. Cadenzas usually appear toward the end ofa movement or composition, or between sections ofa movement, and are performed by the soloistalone, the orchestra joining only in the initial andclosing chords of the passage. The cadenza is associatedparticularly with the solo concerto, where itappears in the first and sometimes also the last—deceptive cadence Also, false cadence, interruptedcadence. A cadence that the listener expectsto end on the tonic but that surprises one with a differentchord: the next-to-last chord is the dominant(V), the last some other chord, often the SUBMEDI-ANT (VI). For example, in the key of C major:fig. 47 p/u from p. 61fig. 45 p/u from p. 60—Phrygian cadence A cadence that gives theimpression that more is to follow, and that is oftenfound in seventeenth- and eighteenth-century musicmovement. At first (late eighteenth century) thecadenza was inserted just before the closingcadence of the first movement, and the soloistimprovised it (made it up) on the spot, usually basingit on the themes of the movement. In the nineteenthcentury composers began to write out cadenzas,a custom that has become virtually standard.