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The same as the cadenza of muses scanword. Cadence is a musical fantasy

CADENCE

a musical term used in two senses: 1) a free, virtuoso, richly ornamented insertion into a piece of music, mainly in Italian opera 17th-18th centuries and in 19th century music. for solo instruments; 2) a more detailed, but also inserted and sustained in the spirit of improvisation form. The cadenza was placed at the end of any part of the concert for a solo instrument with an orchestra and provided the performer with the opportunity to show off his technical skills.

The cadence in the opera made it possible to demonstrate not only vocal technique, but also a creative gift, since, according to tradition, the singer had to improvise with each performance. Cadence in instrumental concert were built in a rhapsodic style and used the thematic material of the work; they often used trills, arpeggios, scale passages. Such cadences were also improvised until the beginning of the 19th century; however, already Beethoven, in his Fifth (Imperial) Piano Concerto, gave an example of a cadenza, which was supposed to be performed according to the author's text and exactly correspond to the style of the work.

Collier. Collier's Dictionary. 2012

Cadence: definition

The word "cadence" is used in music in two terms:

A cadenza is an inclusion in a melody, which is characterized by freedom, virtuosity and richness of musical color. In this sense, the cadenza was used in the opera Italian composers XVII-XVIII centuries. In the same way, the technique was used in the instrumental solos of the 19th century.
A cadenza is a melodic improvisation included in a main piece of music.

As a rule, the cadenza technique was used at the end of an instrumental solo or concert. In progress this technique the musician had the opportunity to show his talent in all its glory.

The history of the concept

For the first time in musical theory the term "cadence" was used by Florence de Faxolis in his treatise "Book of Music". Subsequently, the technique continued to develop in the theory of music of the 16th-17th centuries.

The French music theorist Jean-Philippe Rameau was the first to describe the classification of cadence in the key of classical romanticism.

At first, the technique was used only in rhapsodies. As a rule, it was an improvisation that was not recorded using musical notation. This was the case until the 19th century. Ludwig van Beethoven ventured to record the notes of the cadenza for the first time in the creation of his Fifth Piano Concerto.

Varieties of cadence

The basic classification of cadence was proposed by Jean-Philippe Rameau. Today, the following main types of reception are known:

According to the location in the period of the melody, the cadenza of music is middle (at the end of the first musical line), additional (at the end of the period).
According to the composition of the chords, the reception can be authentic. Then the final chord is performed using the dominant. This is, as a rule, a combination of chords that brings a decisive and peremptory ending to the end of the melody ( D-T chords, T-D-T).

An alternative to the authentic cadence is the plagal one, that is, the ending built in a subdominant direction. Such an ending is soft and evokes doubts. The technique is played using a combination of chords T-S-T, S-T, T-S, etc.

The degree of completion divides the cadence into half, full and interrupted. A half cadenza is a technique when the dominant chord does not complete the period, but seems to hang in the air. There is an impression of a certain incompleteness of the melody. This cadence is usually used in the middle of a piece. The full reception is performed with the use of the subdominant at the beginning, the dominant in the middle and the tonic as the final chord. A full cadence exhibits tonality from all three of its sides. Interrupted reception involves short-term improvisation and the continuation of the melody.
Another criterion for separation musical reception- the sound of the main voice of the melody. This measure divides the cadence into perfect and imperfect. The perfect brings the melody to the tonic in the strong beat of the measure. The work appears to be complete. With an imperfect fantasy, the last chord falls on a third or a weak beat. This melody is incomplete.

What kind of music uses cadence?

In modern melodies, the cadence technique is also used. Music with such twists of fantasy becomes brighter and more interesting.

The most common use of the cadence is found in jazz. Here, this technique is called "break". In its final version, the break was formed in the blues. Free improvisation.

The cadence is used in classical music. At orchestral concerts the conductor arranges the presentation of the melody in such a way that the fantasy performed by the solo instrument seems like a fresh note in the fabric general music. Without a cadenza, the motif would be gray and uninteresting.

in Latin, "fall" (of dice) sounds something like "cadence", but how did this word change over time, according to the laws French
in Latin, "fall" (dice) sounds something like "cadence", but how did this word change over time, according to the laws of the French language?

ALLEGRO

cf. unwilling. ital. light, lively, playful and fast measure in music; alegretto will detract. the music is slower. Allegri cf. unwilling. masquerade, ball, lottery evening
fast in music
fast pace in music
fast, moving tempo in music
moving tempo in music

ORCHESTRA

m. ital. complete collection musicians, for playing together, that in voice music the choir; fenced off in the theater and generally arranged somewhere for musicians. Orchestrate music, decompose voices into all musical instruments

RHYTHM

V classical music greater value has frequency and amplitude modulation sound signal, and what prevails in light music
"Heartbeat" music
m. Greek measure, in music or in poetry; dimensional stress, voice broach, chant
measured stress in music
measured stress in music
periodicity in music
three basic elements of music: melody, harmony and

CHORUS

m. lat. assembly of choristers, for consonant singing. male, female, mixed choir. A gathering of hand-picked musicians, for collaborative music. The most performance in voices, music for the full number of voices. Bad ferret. Khorishcha in
the team sang along to the music

Cadence as a category of harmony

Cadence - harmonic or melodic (the latter is also referred to as " clause”), a turn that completes the musical construction (any department of the form).

In this sense, the term was first recorded in " Music book» (Liber musices) Florence de Faxolis (1496) . He received a powerful development in the musical theory of the 16th-17th centuries (the treatises of this time contain extremely branched and not quite ordered systematics of cadences). The classification adopted in the classical-romantic system keys, goes back to J.F. Ramo (1737) .

The last consonance in the cadence is called the ultima, the penultimate penalty, third from the end - antepenultima.

The following typical varieties of cadences are distinguished (S = consonance subdominants, D = dominants, T = tonics):

I. For the effect of completion:
I.1. Full, that is, ending in T;
I.1.1. Perfect (T in the melodic position of the prima, after D or S, taken only in the main form);
I.1.2. imperfect (if at least one condition inherent in a perfect cadence is not met);
I.2. Half, that is, ending in D or (less often) S;
I.3. Interrupted, that is, avoiding the expected T (in the classical situation, the revolution ends with a triad of the VI degree).

II. According to the functional composition:
II.1. Authentic (D - T);
II.2. Plagal (S - T).

Auphtenic and plagal chordal turns(sequences, progressions), which are found in abundance in the music of the Renaissance, long before the concept of tonal functions classical-romantic harmony.

III. By location in the form:
III.1. median;
III.2. Final;
III.3. Additional;
III.4. Invading (cadenza ultima falls at the beginning of the next formal section).

IV. According to the metric position of the ultima:
IV.1. Male (ultima on the strong beat tact);
IV.2. Female (ultima on a weak beat).

v. Special cadenzas:
V.1. Phrygian. Half cadence in minor type IV 6 -V. Received this name due to its similarity with a kind of Gothic cadence (sonant cell) in the music of the XIII-XV centuries, with a semitone move from penultima to ultima in the lower voice ( Landini , Masho , Dufay etc.), as if Phrygian mode. In the tonal system, modalism, may be included in Phrygian turnover, or functions in isolation.
V.2. Gothic: three-voice cadenza (sonant cell) from conchords tertsexts and quintoctaves, most typical of music late Middle Ages and early Renaissance;
V.3. In the old text-musical form cadences are given names depending on the corresponding sections of the text (poetic, prose prayer) form. There are general, strophic, semi-strophic, lowercase and intralinear cadenzas. The degree of "heaviness" (hierarchical significance) of a cadenza depends on the significance of the section of the poetic (textual) form to which this cadenza belongs. The most significant are the ultima of the general and stanza cadences, the least - of the inline ones.

Cadence plan. Tonal Plan. IN modal in polyphonic music, the arrangement of cadences is called the “cadence plan” (from German Kadenzplan). In classical tonal music is judged by cadence ultimatums tonal plan. The cadence plan and the tonal plan represent the most important pillars (the foundations and the foundations) fret, that is, the skeleton of the mode at the (macro) level of the integral musical form.

Performing cadenza

Since the era baroque cadenza was called a virtuoso solo in vocal (for example, in operatic arias) or in instrumental music (for example, in a concerto for a solo instrument with an orchestra). The cadenza is intended to bring out the soloist's performance and contains the greatest technical difficulty, often representing the highlight of the solo part. The cadenza is usually placed at the turning point, the most intense moment of the musical compositions(V sonata form- before code or reprise). Most often, the cadence is built on a free developing thematic motives, interspersed with various passages. Until the second decade of the 19th century, the cadence was usually composed or improvised performing musicians, later it became a practice to write it by the composer.

Notes

Literature

Friedkin G. Practical guide in musical literacy. - M.: State Musical Publishing House, 1962.
Smalzriedt S. Kadenz // Handwörterbuch der musikalischen Terminologie.- Tübingen, 1974.
Kholopov Yu. N. Harmony. Theoretical course. Moscow, 1988.
Kholopov Yu. N. // Music encyclopedic dictionary. Moscow, 1990, ss. 223-224.

Links

// Encyclopedic Dictionary of Brockhaus and Efron: In 86 volumes (82 volumes and 4 additional). - St. Petersburg. , 1890-1907.
Smalzriedt S. Kadenz (article from the authoritative German "Dictionary of Musical Terms"; contains a detailed historical overview of the term and concept)

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