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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. 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
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2210:, Op. 109, bars 97–112, "a striking passage that used to pre-occupy theorists". 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 ... the recapitulation bursts on us in the tonic E minor, the B minor dominants left unresolved."
4329:
2407:(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.)
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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
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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.
890:
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
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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
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1164:(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
891:
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.
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1049:. The music progresses to an implied E minor dominant (B) 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.
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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. To distinguish them from this form, the other, more common forms of cadences listed above are known as
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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." Authentic cadences are generally classified as either
2287:
2264:, 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 ... producing an especially pungent effect."
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580:). 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
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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
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915:
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.
626:) 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.
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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 → I). An early suggestion of the
Moravian cadence in classical music occurs in
685:
A Phrygian half cadence is a half cadence iv–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
1181:
694:, the Phrygian cadence often concluded a slow movement immediately followed by a faster one. With the addition of motion in the upper part down to the sixth degree before rising to the tonic, it becomes the
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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). This is the most important
2182:
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:
2136:
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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.
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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. Music theorist
690:. Due to its being a survival from modal Renaissance harmony this cadence gives an archaic sound, especially when preceded by v (v–iv–V). A characteristic gesture in
2345:
1964:
1929:
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periods in the 16th and 17th centuries, the
English cadence is described as sounding archaic or old-fashioned. It was first given its name in the 20th century.
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2109:
1610:
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.
1262:, a debate over which was documented in Rome c. 1540. The final three written notes in the upper voice are printed B–C–D, in which case the customary
4231:
816:
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
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899:
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. (Cf.
2315:, the opening theme returns and seems headed towards a possible final resolution on an authentic (perfect) cadence. What the listener may expect is:
1676:
does not resolve as expected, and the voices together resolve to a consonance other than an octave or unison (a perfect fifth, a sixth, or a third).
971:
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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.
727:
is similar to the
Phrygian half cadence, involving iv–V in the minor. The difference is that in the Lydian cadence, the whole iv is raised by a
1405:
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pattern that indicates the end of a phrase. A cadence can be labeled "weak" or "strong" depending on the impression of finality it gives.
3854:
3564:
678:
4048:
2129:(The Waldstein Sonata), Op. 53 features a minor key passage where an authentic (perfect) cadence precedes a deceptive (interrupted) one:
366:
3050:"Bohuslav Martinů's Notes on Janáček's Introduction to the Moravian Folksongs Newly Collected (Národní Písně Moravské V Nově Nasbírané)"
2062:
in the opening phrase of the opera is finally resolved "three enormous acts and five hours later" in the form of a minor plagal cadence:
1922:
follows a familiar pattern of a pair of phrases, one ending with a half (imperfect) cadence and the other with an authentic cadence:
1907:
The classical and romantic periods of musical history provide many examples of the way the different cadences are used in context.
2159:, Op. 72, No. 2 features deceptive (interrupted), half (imperfect) and authentic (perfect) cadences within its first sixteen bars:
1319:
1117:
Metrically accented cadences are considered stronger and are generally of greater structural significance. In the past, the terms
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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
1138:
886:
disputes the existence of plagal cadences in music of the classical era although they begin to appear in the nineteenth century:
2413:
cadences are common in jazz if not cliché. For example, the ascending diminished seventh chord half-step cadence, which—using a
1488:
In three voices, the third voice often adds a falling fifth creating a cadence similar to the authentic cadence in tonal music.
1125:
were sometimes used to describe rhythmically "strong" or "weak" cadences, but this terminology is no longer acceptable to some.
656:
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are usually simply called cadences, as in common practice harmony. However, a certain category of cadence is referred to as a
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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
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An
Overview of Bohuslav Martinů's Piano Style with a Guide to Analysis and Interpretation of the Fantasie et Toccata, H. 281
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right before resolution, thereby "evading" the root-position I chord that would usually follow a root-position V. (See also
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VI) in major or V–VI in minor. This is considered a weak cadence because of the "hanging" (suspended) feeling it invokes.
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The example below shows a metrically unaccented cadence (IV–V–I). The final chord is postponed to fall on a weak beat.
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and Iris
Winkler (translated by Regina Piskorsch-Feick), 2001, from liner notes p. 4 for recording by Franz Hauk,
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Musica Ficta: Theories of
Accidental Inflections in Vocal Polyphony from Marchetto da Padova to Gioseffo Zarlino
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A metrically unaccented cadence has its final note in a metrically weak position, for instance, after a long
1258:
This example from a well-known 16th-century lamentation shows a cadence that appears to imply the use of an
4903:
2978:
Notley, Margaret (2005). "Plagal
Harmony as Other: Asymmetrical Dualism and Instrumental Music by Brahms".
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2225:
993:
955:
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A deceptive cadence is a useful means for extending a musical narrative. In the closing passage of Bach’s
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Beginning in the 13th century, cadences begin to require motion in one voice by half step and the other a
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refer to motion that avoids or follows a phrase-ending cadence. Each cadence can be described using the
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Classical Form: A Theory of Formal
Functions for the Instrumental Music of Haydn, Mozart, and Beethoven
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Judd, Christle Collins (1998). "Introduction: Analyzing Early Music". In Judd, Christle Collins (ed.).
1613:
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Classical Form: A Theory of Formal Functions for the Instrumental Music of Haydn, Mozart and Beethoven
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2836:. "the unexpected motion of a cadential dominant chord to a I (instead of the typically cadential I)"
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2010:
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2417:—creates momentum between two chords a major second apart (with the diminished seventh in between).
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820:, a descending fifth). The plagal half cadence is a weak cadence, ordinarily at the ending of an
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35:
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2102:’, a phrase ending in a deceptive cadence repeats with the cadence changed to an authentic one:
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A metrically accented cadence has its final note in a metrically strong position, typically the
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Harmonic Function in Chromatic Music: A Renewed Dualist Theory and an Account of Its Precedents
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Elements of Sonata Theory: Norms, Types, and Deformations in the Late-Eighteenth-Century Sonata
1870:) is a cadence that was used extensively in the 14th and early 15th century. It is named after
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1516:
was experienced as a problematic interval not easily understood, as the remainder between the
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A clausula or clausula vera ("true close") is a dyadic or intervallic, rather than chordal or
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508:(shown below): Similar to a perfect authentic cadence, but the highest voice is not the tonic.
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3597:
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writes that the perfect authentic cadence "achieves complete harmonic and melodic closure."
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describes the effect of this cadence as follows: "the splendour of the end with the famous
1001:
546:: The penultimate (V) chord is replaced with a chord based on the leading-tone (vii chord).
2685:
2252:
2077:
1587:{\displaystyle {\frac {\frac {4}{3}}{\left({\frac {9}{8}}\right)^{2}}}={\frac {256}{243}}}
1129:
has written extensively on the gendered terminology of music and music theory in her book
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3555:, vol. 2, "Music of the Seventeenth and Eighteenth Centuries". Oxford University Press.
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Das Wesen des musikalischen Kunstwerks: Eine Einführung in Die Lehre Heinrich Schenkers
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844:—it is used to complete not just a musical phrase but an entire section of a movement.
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413:
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108:
96:
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2025:‘La Fille aux Cheveux de Lin’ contains a plagal cadence in its 2nd and 3rd bars :
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in one voice may also be used as a weak interior cadence. The example below, Lassus's
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Cadences are divided into four main types, according to their harmonic progression:
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The interrupted cadence is also frequently used in popular music. For example, the
1038:, the listener hears a string of many deceptive cadences progressing from V to IV.
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The plagal cadence may be interpreted as I–V if the IV-I cadence is perceived as a
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1874:, a composer who used them profusely. Similar to a clausula vera, it includes an
1855:
1742:
1685:
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837:
731:. In other words, the Phrygian half cadence begins with the first chord built on
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One of the most famous endings in all music is found in the concluding bars of
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The descending diminished seventh chord half-step cadence is assisted by two
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2282:, composed over a century later in 1841, features a similar harmonic jolt:
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99:, especially in music of the 16th century onwards. A harmonic cadence is a
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673:
The last two chords represent a Phrygian half cadence in Bach's four-part
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rather than chords. The first theoretical mention of cadences comes from
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pattern particular to the authentic or perfect cadence. It features the
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3446:. If the clash cadence is already "archaic, mannered" in the music of
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3507:
Small, C. (1977, p. 15), Music-Society-Education. London, John Calder.
340:. Typically, phrases end on authentic or half cadences, and the terms
53:
note in the highest voice of the final chord): the three chords are a
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3832:
2410:
1950:
1750:
1513:
1365:
728:
533:: Similar to a perfect authentic cadence, but one or both chords are
384:
852:
A plagal cadence is a cadence from IV to I. It is also known as the
45:
The final two chords present an authentic (or perfect) cadence with
4827:
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4174:
1364:, where he uses the term to mean where the two lines of a two-part
158:
4018:
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4469:
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3769:
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2018:
1415:
383:
The final two chords represent a perfect authentic cadence; from
135:
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61:
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The Development of Sacred Polychoral Music to the Time of Schütz
448:
but can also have a more precise meaning depending on the chord
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1986:
1915:
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1400:
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989:
128:
88:
3292:, p. 148. Cambridge and New York: Cambridge University Press.
143:
progressions that are suitable for phrase endings in general.
2334:
Bach, Prelude in F minor, bars 57–60 with expected conclusion
2326:
Bach, Prelude in F minor, bars 57–60 with expected conclusion
860:
742:, while the Lydian half cadence is built on the scale degree
501:
There are three types of imperfect authentic cadences (IAC):
124:
4565:
3488:
Roots of the Classical: The Popular Origins of Western Music
3415:
Roots of the Classical: The Popular Origins of Western Music
2272:
of the seventh chord, who would not be enthralled by that?"
1878:
in the upper voice, which briefly narrows the interval to a
1094:
Cadences can also be classified by their rhythmic position:
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2398:
2091:
854:
134:
While cadences are usually classified by specific chord or
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1144:
Audio playback is not supported in your browser. You can
1019:
Audio playback is not supported in your browser. You can
977:
Audio playback is not supported in your browser. You can
941:
The Moravian cadence, which can be found in the works of
925:
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872:
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800:
Audio playback is not supported in your browser. You can
764:
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707:
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662:
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635:
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602:
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518:
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485:
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372:
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34:
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3194:
2929:
2229:
Beethoven Piano Sonata Op 109, 2nd movement, bars 97–112
2221:
Beethoven Piano Sonata Op 109, 2nd movement, bars 97–112
1672:, an evaded cadence is one where one of the voices in a
1336:
460:
In a perfect authentic cadence (PAC), the chords are in
2796:(5th ed.). Boston: McGraw-Hill. pp. 148–149.
1910:
1688:, or Corelli clash, named for its association with the
1060:" ends with such a cadence (at approximately 0:45–50).
832:". But in one very unusual occurrence – the end of the
87: 'a falling') is the end of a phrase in which the
1995:
culminates powerfully with an iterated plagal cadence:
1418:, cadence. In a clausula vera, two voices approach an
859:
because of its frequent setting to the text "Amen" in
3392:
3082:
2612:
The Harvard Concise Dictionary of Music and Musicians
1533:
429:
The Harvard Concise Dictionary of Music and Musicians
3662:. Vol. II (8th ed.). Boston: McGraw-Hill.
2125:
The exposition of the first movement of Beethoven’s
646:
Several types of half cadences are described below.
2872:
2233:An equally startling example occurs in J.S. Bach's
2148:
Beethoven Piano Sonata 21, 1st movement, bars 78–84
2140:
Beethoven Piano Sonata 21, 1st movement, bars 78-84
1586:
1298:. Presumably, the debate was over whether to use D
412:(V); the dominant chord may also be preceded by a
1280:on the second to last note would then require a D
828:phrase commences. One example of this use is in "
4885:
2201:Debussy, La Fille aux cheveux de lin, bars 26–29
2193:Debussy, La Fille aux cheveux de lin, bars 26–29
555:An evaded cadence moves from a dominant seventh
164:
3587:Norman Carey (Spring, 2002). Untitled review: "
2855:Introduction to the Theory of Heinrich Schenker
2743:Thomas Benjamin, Johann Sebastian Bach (2003).
2014:Handel, Messiah, Hallelujah Chorus closing bars
2006:Handel, Messiah, Hallelujah Chorus closing bars
3676:
3658:Benward, Bruce; Saker, Marilyn Nadine (2009).
2361:A similar passage occurs at the conclusion of
1643:, mm. 3–5, shows a rest in the third measure.
988:A deceptive cadence in the second movement of
496:
4739:
4591:
4454:
4239:
4225:
3848:
3733:
3361:
3359:
2044:Debussy La Fille aux Cheveux de Lin, bars 1-4
2036:Debussy la Fille aux cheveux de lin, bars 1-4
1957:follows the same pattern, but in a minor key:
1191:
157:proposed that the cadence was the "cradle of
3657:
3638:
3521:Beethoven's Piano Sonatas: a Short Companion
3365:
3316:
3276:
2646:
2642:
2640:
2631:
2588:
2388:Mozart Fantasia on D minor K397 closing bars
2380:Mozart Fantasia on D minor K397 closing bars
455:
408:above the dominant may be added to create a
150:or central pitch of a passage or piece. The
3643:. Vol. I (7th ed.). McGraw-Hill.
3464:Music Theory in Seventeenth-Century England
2957:. University of Chicago Press. p. 29.
2788:
2782:
1089:
396:An authentic cadence is a cadence from the
4746:
4732:
4598:
4584:
4461:
4447:
4232:
4218:
3855:
3841:
3740:
3726:
3609:
3607:
3356:
3335:Studies in the Origin of Harmonic Tonality
3312:
3310:
3308:
3306:
1779:–D. Popular with English composers of the
1480:Magnificat Secundi Toni: Deposuit potentes
1030:At the beginning of the final movement of
3613:Richard Lawn, Jeffrey L. Hellmer (1996).
3108:Modern Harmony in its Theory and Practice
2637:
1902:
468:of both chords are in the bass – and the
311:
127:. A rhythmic cadence is a characteristic
3328:
3099:
3097:
2947:
2846:
2844:
2842:
2683:
2603:
2601:
2599:
2597:
2478:in G major, BMV 1048, mvmt. I, mm. 1–2:
2383:
2371:
2352:
2340:
2329:
2317:
2296:
2284:
2251:
2239:
2224:
2212:
2196:
2184:
2173:
2161:
2143:
2131:
2116:
2104:
2076:
2064:
2039:
2027:
2009:
1997:
1971:
1959:
1936:
1924:
1063:
649:
3639:Benward, Bruce; Saker, Marilyn (2003).
3604:
3576:Johann Sebastian Bach Organ Masterworks
3303:
3264:
3222:
3184:10.1093/gmo/9781561592630.article.18241
2698:10.1093/gmo/9781561592630.article.04523
2256:Bach Toccata in F, BWV 540 bars 197–207
2248:Bach Toccata in F, BWV 540 bars 197–207
2081:Wagner, Tristan, Liebestod closing bars
2073:Wagner, Tristan, Liebestod closing bars
910:
16:End of a musical phrase with resolution
4886:
3862:
3698:
3398:
3153:The Concise Oxford Dictionary of Music
3088:
3047:
3006:
2977:
811:
780:Burgundian cadences became popular in
775:
146:Cadences are strong indicators of the
4727:
4579:
4442:
4213:
3836:
3721:
3477:
3450:(1585-1672) it must surely be so now.
3379:Modal Counterpoint, Renaissance Style
3094:
2935:
2878:
2839:
2717:
2594:
2235:Toccata and Fugue in F major, BWV 540
2085:
1976:Beethoven Presto from Quartet Op. 130
1968:Beethoven Presto from Quartet Op. 130
1941:Mozart Romanze from Piano Concerto 20
1933:Mozart Romanze from Piano Concerto 20
1337:In medieval and Renaissance polyphony
590:
2658:
1911:Authentic cadences and half cadences
1809:, as shown below in an excerpt from
964:
359:
3553:The Oxford History of Western Music
3200:"Guidelines for Nonsexist Language"
2461:
2357:Bach, Prelude in F minor bars 57–70
2349:Bach, Prelude in F minor bars 57–70
2301:Chopin Fantaisie in F minor, Op. 49
2293:Chopin Fantaisie in F minor, Op. 49
1790:The hallmark of this device is the
1663:
1605:
1512:, "as late as the 13th century the
1073:An inverted cadence (also called a
1068:
936:
679:Schau, lieber Gott, wie meine Feind
444:is sometimes used as a synonym for
95:creates a sense of full or partial
13:
3686:(Thesis). Arizona State University
2415:secondary diminished seventh chord
2178:Dvořák Slavonic Dance Op 72, No. 2
2170:Dvořák Slavonic Dance Op 72, No. 2
1980:
1849:
1736:
1696:, is a cadence characterized by a
1679:
1249:Problems playing these files? See
1198:
404:(I). During the dominant chord, a
14:
4915:
3677:Crane-Waleczek, Jennifer (2011).
1473:A three-voice clausula vera from
900:
847:
718:
550:
4564:
4327:
1375:
1233:
1214:
1179:
1155:
749:
736:
305:V → vi (dominant to submediant)
3581:
3558:
3542:
3526:
3510:
3501:
3453:
3428:
3404:
3371:
3322:
3282:
3250:
3216:
3188:
3166:
3142:
3121:
3041:
3032:
3000:
2971:
2941:
2916:The Harvard Dictionary of Music
2905:
2884:
2861:), p. 24. Trans. John Rothgeb.
2818:
2745:The Craft of Tonal Counterpoint
2661:Tonal Structures in Early Music
618:A half cadence (also called an
613:
282:IV → I (subdominant to tonic)
3601:, vol. 24, no. 1, pp. 121–134.
3537:Beethoven and the Voice of God
3342:. Princeton University Press.
2758:
2737:
2711:
2677:
2652:
2546:List of Caribbean music genres
1:
3701:The Oxford Companion to Music
3234:University of Minnesota Press
3038:Crane-Waleczek (2011), p. 18
2722:. Prentice-Hall. p. 34.
2684:Rockstro, William S. (2001).
2575:
2121:From Bach chorale, Wachet auf
2113:From Bach chorale, Wachet auf
1741:Another "clash cadence", the
1716:. An example is shown below.
1399:A clausula vera cadence from
1292:, the upper leading-tone of D
165:Nomenclature across the world
4753:
3747:
3699:Latham, Alison, ed. (2002).
3660:Music in Theory and Practice
3641:Music in Theory and Practice
2890:Finn Egeland Hansen (2006).
2824:Darcy and Hepokoski (2006).
2484:
2447:
2423:
1888:
1835:
1722:
1649:
1616:
1494:
1459:
1440:
1385:
1322:
1174:(Jesus, My Joy), mm. 12–13.
1141:
1016:
974:
922:
869:
797:
761:
704:
659:
632:
599:
515:
482:
369:
247:I, II, IV or VI → V (tonic,
31:
7:
4468:
3261:Harvard Dictionary of Music
3204:Western Michigan University
2692:. Oxford University Press.
2498:
1985:The Hallelujah Chorus from
1004:, most commonly V–vi (or V–
497:Imperfect authentic cadence
10:
4920:
4605:
4531:List of chord progressions
4201:List of chord progressions
3632:
3129:Music Theory Resource Book
1805:between the split seventh
1192:Upper leading-tone cadence
791:between the upper voices.
193:Typical harmonic sequence
49:in the bass lines and the
18:
4776:Consonance and dissonance
4761:
4613:
4562:
4476:
4428:List of musical intervals
4423:
4387:
4336:
4325:
4247:
4241:Consonance and dissonance
4198:
4162:
4071:
4001:
3933:
3924:
3870:
3755:
3615:Jazz: Theory and Practice
2981:The Journal of Musicology
2892:Layers of Musical Meaning
2792:; Payne, Dorothy (2004).
836:of the first movement of
456:Perfect authentic cadence
3523:. Yale University Press.
3434:Carver, Anthony (1988).
3377:Schubert, Peter (1999).
3366:Benward & Saker 2009
3317:Benward & Saker 2009
3277:Benward & Saker 2009
3196:Society for Music Theory
2663:. Routledge. p. 6.
2647:Benward & Saker 2003
2632:Benward & Saker 2003
2589:Benward & Saker 2003
2094:'s harmonization of the
1348:cadences are based upon
1210:Upper-leading tone trill
1090:Rhythmic classifications
1058:Bring the Boys Back Home
170:Terms used for cadences
21:Cadence (disambiguation)
4833:Otonality and utonality
4059:Tadd Dameron turnaround
3578:, Guild Music GMCD 7217
3178:. Oxford Music Online.
3016:Oxford University Press
2994:10.1525/jm.2005.22.1.90
2718:White, John D. (1976).
2489:download the audio file
2452:download the audio file
2428:download the audio file
2392:
1893:download the audio file
1840:download the audio file
1727:download the audio file
1654:download the audio file
1641:Qui vult venire post me
1630:
1621:download the audio file
1499:download the audio file
1464:download the audio file
1445:download the audio file
1390:download the audio file
1327:download the audio file
1272:in this context, and a
1146:download the audio file
1021:download the audio file
979:download the audio file
927:download the audio file
874:download the audio file
802:download the audio file
766:download the audio file
709:download the audio file
664:download the audio file
637:download the audio file
604:download the audio file
520:download the audio file
487:download the audio file
391:, mvmt. III, mm. 16–17.
374:download the audio file
36:download the audio file
4154:Montgomery-Ward bridge
4134:Royal road progression
4029:Montgomery-Ward bridge
3288:Berger, Karol (1987).
2389:
2381:
2358:
2350:
2335:
2327:
2302:
2294:
2257:
2249:
2230:
2222:
2202:
2194:
2179:
2171:
2149:
2141:
2122:
2114:
2082:
2074:
2045:
2037:
2015:
2007:
1977:
1969:
1942:
1934:
1903:Common practice period
1588:
1356:'s description of the
1203:
893:
842:Clarinet Trio, Op. 114
824:phrase, after which a
410:dominant seventh chord
312:Common classifications
4099:Borrowed (contrafact)
3598:Music Theory Spectrum
3127:Owen, Harold (2000).
3057:Musicologia Brunensia
2720:The Analysis of Music
2387:
2379:
2356:
2348:
2333:
2325:
2312:Well-Tempered Clavier
2300:
2292:
2255:
2247:
2228:
2220:
2200:
2192:
2177:
2169:
2147:
2139:
2120:
2112:
2080:
2072:
2043:
2035:
2013:
2005:
1975:
1967:
1955:String Quartet Op 130
1940:
1932:
1920:Piano Concerto No. 20
1864:Landini sixth cadence
1589:
1202:
1064:Other classifications
888:
650:Phrygian half cadence
4853:Schenkerian analysis
4848:Progressive tonality
4190:Irregular resolution
3968:Backdoor progression
3765:Backdoor progression
3484:van der Merwe, Peter
3411:van der Merwe, Peter
3340:Robert O. Gjerdingen
3048:Zouhar, Vit (2013).
2474:Brandenburg Concerto
2309:from Book II of the
1918:’s Romanze from his
1602:in contrary motion.
1531:
1002:irregular resolution
911:Minor plagal cadence
350:Roman numeral system
290:interrupted cadence
235:cadencia imperfecta
57:in C major, in four-
19:For other uses, see
4904:Musical terminology
3589:Harmonic Experience
3172:"Medial cadence ".
3069:10.5817/MB2013-2-13
2938:, pp. 129–130.
2912:Randel, Don Michael
2367:Fantasia in D minor
2208:Piano Sonata No. 30
2127:Piano Sonata No. 21
1882:before the octave.
1868:under-third cadence
1821:courtesy accidental
994:Piano Sonata No. 10
812:Plagal half cadence
776:Burgundian cadences
620:imperfect cadence
326:imperfect authentic
204:cadencia auténtica
171:
4791:Secondary function
4124:Passamezzo moderno
4084:Andalusian cadence
4014:Andalusian cadence
3993:Passamezzo moderno
3893:Constant structure
3864:Chord progressions
3460:Herissone, Rebecca
3229:Feminism and Music
3175:Grove Music Online
3018:. pp. 43–45.
3008:Caplin, William E.
2690:Grove Music Online
2608:Don Michael Randel
2516:Cadential six-four
2506:Andalusian cadence
2390:
2382:
2359:
2351:
2336:
2328:
2307:Prelude in F minor
2303:
2295:
2258:
2250:
2231:
2223:
2203:
2195:
2180:
2172:
2150:
2142:
2123:
2115:
2086:Deceptive cadences
2083:
2075:
2055:Tristan und Isolde
2046:
2038:
2016:
2008:
1978:
1970:
1943:
1935:
1812:O sacrum convivium
1704:clash between the
1584:
1260:upper leading-tone
1204:
1171:Jesu, meine Freude
905:Secondary dominant
389:Piano Sonata No. 8
296:cadenza d'inganno
287:deceptive cadence
232:imperfect cadence
198:authentic cadence
169:
55:ii–V–I progression
4881:
4880:
4786:Diatonic function
4721:
4720:
4573:
4572:
4506:Chord progression
4436:
4435:
4207:
4206:
4184:Pachelbel's Canon
4119:Passamezzo antico
4067:
4066:
4034:Passamezzo antico
3988:Sixteen-bar blues
3953:V–IV–I turnaround
3948:ii–V–I turnaround
3830:
3829:
3810:V–IV–I turnaround
3805:ii–V–I turnaround
3669:978-0-07-310188-0
3650:978-0-07-294262-0
3623:978-0-88284-722-1
3519:. (2002, p. 232)
2765:Caplin, William E
2559:V–IV–I turnaround
2493:
2456:
2432:
2377:
2346:
2323:
2290:
2280:Fantaisie, Op. 49
2245:
2218:
2190:
2167:
2137:
2110:
2070:
2033:
2003:
1965:
1930:
1897:
1872:Francesco Landini
1858:(also known as a
1844:
1731:
1712:or the tonic and
1658:
1625:
1582:
1569:
1557:
1543:
1503:
1468:
1449:
1394:
1331:
1239:
1220:
1185:
1150:
1131:Feminine Endings.
1025:
983:
965:Deceptive cadence
931:
878:
806:
770:
713:
668:
641:
608:
524:
506:Root position IAC
491:
446:authentic cadence
400:chord (V) to the
378:
360:Authentic cadence
322:perfect authentic
309:
308:
210:cadence parfaite
207:cadenza perfetta
40:
4911:
4899:Jazz terminology
4863:Tonality diamond
4771:Circle of fifths
4748:
4741:
4734:
4725:
4724:
4600:
4593:
4586:
4577:
4576:
4568:
4463:
4456:
4449:
4440:
4439:
4331:
4330:
4234:
4227:
4220:
4211:
4210:
4139:"Rhythm" changes
4109:Coltrane changes
4009:'50s progression
3978:Twelve-bar blues
3962:
3961:
3931:
3930:
3906:
3857:
3850:
3843:
3834:
3833:
3821:
3820:
3742:
3735:
3728:
3719:
3718:
3714:
3695:
3693:
3691:
3685:
3673:
3654:
3626:
3611:
3602:
3585:
3579:
3573:
3562:
3556:
3551:(2005, p. 213),
3546:
3540:
3539:. London, Faber.
3535:(1983, p. 210),
3530:
3524:
3514:
3508:
3505:
3499:
3481:
3475:
3457:
3451:
3432:
3426:
3408:
3402:
3396:
3390:
3375:
3369:
3363:
3354:
3353:
3338:. Translated by
3326:
3320:
3314:
3301:
3286:
3280:
3274:
3268:
3254:
3248:
3247:
3220:
3214:
3213:
3211:
3210:
3192:
3186:
3170:
3164:
3149:Kennedy, Michael
3146:
3140:
3125:
3119:
3101:
3092:
3086:
3080:
3079:
3077:
3075:
3054:
3045:
3039:
3036:
3030:
3029:
3004:
2998:
2997:
2975:
2969:
2968:
2949:Harrison, Daniel
2945:
2939:
2933:
2927:
2909:
2903:
2888:
2882:
2876:
2870:
2848:
2837:
2822:
2816:
2815:
2786:
2780:
2762:
2756:
2741:
2735:
2733:
2715:
2709:
2708:
2706:
2704:
2681:
2675:
2674:
2656:
2650:
2644:
2635:
2629:
2623:
2605:
2592:
2586:
2568:
2567:
2462:Rhythmic cadence
2378:
2347:
2324:
2291:
2262:Richard Taruskin
2246:
2219:
2191:
2168:
2138:
2111:
2071:
2034:
2004:
1966:
1931:
1828:
1827:
1823:on the tenor's G
1801:) produced by a
1799:augmented unison
1795:augmented octave
1781:High Renaissance
1777:
1776:
1768:
1767:
1593:
1591:
1590:
1585:
1583:
1575:
1570:
1568:
1567:
1562:
1558:
1550:
1536:
1535:
1368:phrase end in a
1315:
1314:
1309:
1308:
1303:
1302:
1297:
1296:
1291:
1290:
1285:
1284:
1271:
1270:
1241:
1240:
1222:
1221:
1201:
1187:
1186:
1084:radical cadences
1069:Inverted cadence
1009:
1008:
947:Bohuslav Martinů
937:Moravian cadence
782:Burgundian music
754:
753:
747:
746:
741:
740:
591:inverted cadence
588:
587:
579:
578:
567:
566:
424:
423:
422:
276:cadence plagale
273:cadenza plagale
270:cadencia plagal
238:cadenza sospesa
201:perfect cadence
172:
168:
4919:
4918:
4914:
4913:
4912:
4910:
4909:
4908:
4884:
4883:
4882:
4877:
4813:Major and minor
4803:Just intonation
4757:
4752:
4722:
4717:
4687:Steps and skips
4609:
4604:
4574:
4569:
4560:
4516:Harmonic rhythm
4472:
4467:
4437:
4432:
4419:
4383:
4332:
4328:
4323:
4243:
4238:
4208:
4203:
4194:
4170:Aeolian harmony
4158:
4063:
3997:
3973:Eight-bar blues
3959:
3958:
3926:
3920:
3905:(Roman-numeral)
3904:
3866:
3861:
3831:
3826:
3818:
3817:
3751:
3746:
3711:
3689:
3687:
3683:
3670:
3651:
3635:
3630:
3629:
3612:
3605:
3586:
3582:
3567:
3563:
3559:
3547:
3543:
3531:
3527:
3515:
3511:
3506:
3502:
3482:
3478:
3458:
3454:
3448:Heinrich Schütz
3433:
3429:
3409:
3405:
3397:
3393:
3376:
3372:
3364:
3357:
3350:
3327:
3323:
3315:
3304:
3287:
3283:
3275:
3271:
3255:
3251:
3244:
3221:
3217:
3208:
3206:
3193:
3189:
3171:
3167:
3147:
3143:
3126:
3122:
3102:
3095:
3087:
3083:
3073:
3071:
3052:
3046:
3042:
3037:
3033:
3026:
3005:
3001:
2976:
2972:
2965:
2946:
2942:
2934:
2930:
2910:
2906:
2889:
2885:
2877:
2873:
2849:
2840:
2823:
2819:
2804:
2787:
2783:
2763:
2759:
2742:
2738:
2730:
2716:
2712:
2702:
2700:
2682:
2678:
2671:
2657:
2653:
2645:
2638:
2630:
2626:
2614:, pp. 105-106.
2606:
2595:
2587:
2583:
2578:
2573:
2565:
2564:
2501:
2496:
2495:
2494:
2492:
2464:
2459:
2458:
2457:
2455:
2435:
2434:
2433:
2431:
2395:
2372:
2341:
2318:
2285:
2270:third inversion
2240:
2213:
2185:
2162:
2132:
2105:
2088:
2065:
2060:dissonant chord
2028:
1998:
1983:
1981:Plagal cadences
1960:
1925:
1913:
1905:
1900:
1899:
1898:
1896:
1856:Landini cadence
1852:
1850:Landini cadence
1847:
1846:
1845:
1843:
1825:
1824:
1774:
1773:
1765:
1764:
1757:, which in the
1743:English cadence
1739:
1737:English cadence
1734:
1733:
1732:
1730:
1686:Corelli cadence
1682:
1680:Corelli cadence
1666:
1661:
1660:
1659:
1657:
1633:
1628:
1627:
1626:
1624:
1608:
1574:
1563:
1549:
1545:
1544:
1534:
1532:
1529:
1528:
1506:
1505:
1504:
1502:
1486:
1485:
1484:
1471:
1470:
1469:
1467:
1452:
1451:
1450:
1448:
1432:contrary motion
1428:stepwise motion
1412:
1411:
1410:
1397:
1396:
1395:
1393:
1378:
1354:Guido of Arezzo
1339:
1334:
1333:
1332:
1330:
1316:for the trill.
1312:
1311:
1306:
1305:
1300:
1299:
1294:
1293:
1288:
1287:
1282:
1281:
1274:cadential trill
1268:
1267:
1256:
1255:
1247:
1245:
1244:
1243:
1242:
1234:
1231:
1225:
1224:
1223:
1215:
1212:
1205:
1199:
1194:
1189:
1188:
1180:
1158:
1153:
1152:
1151:
1149:
1092:
1071:
1066:
1028:
1027:
1026:
1024:
1006:
1005:
998:
997:
996:
986:
985:
984:
982:
967:
939:
934:
933:
932:
930:
913:
881:
880:
879:
877:
850:
814:
809:
808:
807:
805:
778:
773:
772:
771:
769:
748:
744:
743:
735:
721:
716:
715:
714:
712:
696:Landini cadence
683:
682:
681:
671:
670:
669:
667:
652:
644:
643:
642:
640:
616:
611:
610:
609:
607:
586:
583:
582:
581:
577:
575:
574:
573:
570:first inversion
565:
562:
561:
560:
557:third inversion
553:
527:
526:
525:
523:
499:
494:
493:
492:
490:
464:– that is, the
458:
442:perfect cadence
421:
418:
417:
416:
415:
394:
393:
392:
381:
380:
379:
377:
362:
314:
299:cadence rompue
279:plagale Kadenz
267:plagal cadence
264:plagal cadence
167:
155:Edward Lowinsky
140:Harmonic rhythm
103:of two or more
66:
65:
64:
43:
42:
41:
39:
24:
17:
12:
11:
5:
4917:
4907:
4906:
4901:
4896:
4879:
4878:
4876:
4875:
4870:
4865:
4860:
4855:
4850:
4845:
4840:
4835:
4830:
4825:
4820:
4815:
4810:
4805:
4800:
4795:
4794:
4793:
4783:
4781:Diatonic scale
4778:
4773:
4768:
4762:
4759:
4758:
4751:
4750:
4743:
4736:
4728:
4719:
4718:
4716:
4715:
4710:
4705:
4700:
4694:
4689:
4684:
4679:
4674:
4669:
4664:
4659:
4658:
4657:
4647:
4642:
4640:Melodic motion
4637:
4632:
4627:
4622:
4614:
4611:
4610:
4603:
4602:
4595:
4588:
4580:
4571:
4570:
4563:
4561:
4559:
4558:
4553:
4548:
4543:
4538:
4533:
4528:
4526:List of chords
4523:
4518:
4513:
4508:
4503:
4498:
4493:
4488:
4483:
4477:
4474:
4473:
4466:
4465:
4458:
4451:
4443:
4434:
4433:
4431:
4430:
4424:
4421:
4420:
4418:
4417:
4412:
4407:
4402:
4397:
4391:
4389:
4385:
4384:
4382:
4381:
4376:
4371:
4366:
4361:
4359:Perfect fourth
4356:
4351:
4346:
4340:
4338:
4334:
4333:
4326:
4324:
4322:
4321:
4316:
4315:
4314:
4309:
4304:
4299:
4297:Changing tones
4294:
4284:
4279:
4274:
4269:
4264:
4259:
4254:
4248:
4245:
4244:
4237:
4236:
4229:
4222:
4214:
4205:
4204:
4199:
4196:
4195:
4193:
4192:
4187:
4177:
4172:
4166:
4164:
4160:
4159:
4157:
4156:
4151:
4146:
4141:
4136:
4131:
4126:
4121:
4116:
4111:
4106:
4101:
4096:
4094:"Bird" changes
4091:
4086:
4081:
4075:
4073:
4069:
4068:
4065:
4064:
4062:
4061:
4056:
4051:
4046:
4036:
4031:
4026:
4021:
4016:
4011:
4005:
4003:
3999:
3998:
3996:
3995:
3990:
3985:
3982:"Bird" changes
3975:
3970:
3965:
3955:
3950:
3945:
3939:
3937:
3928:
3922:
3921:
3919:
3918:
3913:
3908:
3900:
3895:
3890:
3885:
3880:
3874:
3872:
3868:
3867:
3860:
3859:
3852:
3845:
3837:
3828:
3827:
3825:
3824:
3814:
3813:
3812:
3807:
3797:
3792:
3787:
3782:
3777:
3772:
3767:
3762:
3756:
3753:
3752:
3745:
3744:
3737:
3730:
3722:
3716:
3715:
3709:
3696:
3674:
3668:
3655:
3649:
3634:
3631:
3628:
3627:
3603:
3580:
3557:
3541:
3525:
3517:Rosen, Charles
3509:
3500:
3476:
3452:
3427:
3403:
3401:, p. 192.
3391:
3370:
3355:
3348:
3330:Dahlhaus, Carl
3321:
3302:
3281:
3269:
3249:
3242:
3224:McClary, Susan
3215:
3198:(1996-06-06).
3187:
3165:
3151:, ed. (2004).
3141:
3120:
3093:
3091:, p. 193.
3081:
3063:(2): 191–199.
3040:
3031:
3024:
2999:
2988:(1): 114–130.
2970:
2963:
2940:
2928:
2904:
2883:
2871:
2838:
2817:
2802:
2790:Kostka, Stefan
2781:
2757:
2736:
2728:
2710:
2676:
2669:
2651:
2636:
2634:, p. 359.
2624:
2593:
2580:
2579:
2577:
2574:
2572:
2571:
2561:
2556:
2543:
2538:
2533:
2528:
2523:
2518:
2513:
2511:Approach chord
2508:
2502:
2500:
2497:
2486:
2483:
2480:
2463:
2460:
2449:
2446:
2443:
2425:
2422:
2419:
2394:
2391:
2266:Hermann Keller
2157:Slavonic Dance
2087:
2084:
1982:
1979:
1949:movement from
1912:
1909:
1904:
1901:
1890:
1887:
1884:
1851:
1848:
1837:
1834:
1831:
1829:is editorial.
1803:false relation
1761:of C would be
1755:dominant chord
1738:
1735:
1724:
1721:
1718:
1694:Corelli school
1681:
1678:
1665:
1664:Evaded cadence
1662:
1651:
1648:
1645:
1632:
1629:
1618:
1615:
1612:
1607:
1606:Plagal cadence
1604:
1595:
1594:
1581:
1578:
1573:
1566:
1561:
1556:
1553:
1548:
1542:
1539:
1518:perfect fourth
1496:
1493:
1490:
1472:
1461:
1458:
1455:
1454:
1453:
1442:
1439:
1436:
1398:
1387:
1384:
1381:
1380:
1379:
1377:
1374:
1338:
1335:
1324:
1321:
1318:
1246:
1232:
1229:Diatonic trill
1227:
1226:
1213:
1208:
1207:
1206:
1197:
1196:
1195:
1193:
1190:
1176:
1157:
1154:
1143:
1140:
1137:
1115:
1114:
1107:
1091:
1088:
1075:medial cadence
1070:
1067:
1065:
1062:
1047:Third Symphony
1018:
1015:
1012:
987:
976:
973:
970:
969:
968:
966:
963:
952:Antonín Dvořák
938:
935:
924:
921:
918:
912:
909:
884:William Caplin
871:
868:
865:
849:
848:Plagal cadence
846:
830:Auld Lang Syne
813:
810:
799:
796:
793:
777:
774:
763:
760:
757:
725:Lydian cadence
720:
719:Lydian cadence
717:
706:
703:
700:
672:
661:
658:
655:
654:
653:
651:
648:
634:
631:
628:
615:
612:
601:
598:
595:
584:
576:
572:tonic chord (I
563:
552:
551:Evaded cadence
549:
548:
547:
538:
517:
514:
511:
510:
509:
498:
495:
484:
481:
478:
474:William Caplin
457:
454:
419:
382:
371:
368:
365:
364:
363:
361:
358:
313:
310:
307:
306:
303:
300:
297:
294:
293:cadencia rota
291:
288:
284:
283:
280:
277:
274:
271:
268:
265:
261:
260:
245:
242:
239:
236:
233:
230:
226:
225:
214:
211:
208:
205:
202:
199:
195:
194:
191:
188:
185:
184:Italian usage
182:
181:Spanish usage
179:
178:British usage
176:
166:
163:
73:musical theory
44:
33:
30:
27:
26:
25:
15:
9:
6:
4:
3:
2:
4916:
4905:
4902:
4900:
4897:
4895:
4892:
4891:
4889:
4874:
4873:Voice leading
4871:
4869:
4866:
4864:
4861:
4859:
4856:
4854:
4851:
4849:
4846:
4844:
4841:
4839:
4836:
4834:
4831:
4829:
4826:
4824:
4821:
4819:
4816:
4814:
4811:
4809:
4806:
4804:
4801:
4799:
4796:
4792:
4789:
4788:
4787:
4784:
4782:
4779:
4777:
4774:
4772:
4769:
4767:
4764:
4763:
4760:
4756:
4749:
4744:
4742:
4737:
4735:
4730:
4729:
4726:
4714:
4713:Voice leading
4711:
4709:
4706:
4704:
4701:
4698:
4695:
4693:
4690:
4688:
4685:
4683:
4680:
4678:
4675:
4673:
4670:
4668:
4665:
4663:
4660:
4656:
4653:
4652:
4651:
4648:
4646:
4643:
4641:
4638:
4636:
4633:
4631:
4628:
4626:
4623:
4621:
4620:
4616:
4615:
4612:
4608:
4601:
4596:
4594:
4589:
4587:
4582:
4581:
4578:
4567:
4557:
4556:Voice leading
4554:
4552:
4549:
4547:
4544:
4542:
4539:
4537:
4534:
4532:
4529:
4527:
4524:
4522:
4521:Harmonization
4519:
4517:
4514:
4512:
4509:
4507:
4504:
4502:
4499:
4497:
4494:
4492:
4489:
4487:
4484:
4482:
4481:Accompaniment
4479:
4478:
4475:
4471:
4464:
4459:
4457:
4452:
4450:
4445:
4444:
4441:
4429:
4426:
4425:
4422:
4416:
4415:Major seventh
4413:
4411:
4410:Minor seventh
4408:
4406:
4403:
4401:
4398:
4396:
4393:
4392:
4390:
4386:
4380:
4377:
4375:
4372:
4370:
4367:
4365:
4364:Perfect fifth
4362:
4360:
4357:
4355:
4352:
4350:
4347:
4345:
4342:
4341:
4339:
4335:
4320:
4317:
4313:
4310:
4308:
4305:
4303:
4300:
4298:
4295:
4293:
4290:
4289:
4288:
4287:Nonchord tone
4285:
4283:
4280:
4278:
4275:
4273:
4270:
4268:
4265:
4263:
4260:
4258:
4255:
4253:
4250:
4249:
4246:
4242:
4235:
4230:
4228:
4223:
4221:
4216:
4215:
4212:
4202:
4197:
4191:
4188:
4185:
4181:
4178:
4176:
4173:
4171:
4168:
4167:
4165:
4161:
4155:
4152:
4150:
4147:
4145:
4142:
4140:
4137:
4135:
4132:
4130:
4127:
4125:
4122:
4120:
4117:
4115:
4112:
4110:
4107:
4105:
4102:
4100:
4097:
4095:
4092:
4090:
4087:
4085:
4082:
4080:
4077:
4076:
4074:
4070:
4060:
4057:
4055:
4052:
4050:
4047:
4044:
4040:
4037:
4035:
4032:
4030:
4027:
4025:
4022:
4020:
4017:
4015:
4012:
4010:
4007:
4006:
4004:
4000:
3994:
3991:
3989:
3986:
3983:
3979:
3976:
3974:
3971:
3969:
3966:
3964:
3963:VII–V cadence
3956:
3954:
3951:
3949:
3946:
3944:
3941:
3940:
3938:
3936:
3932:
3929:
3923:
3917:
3914:
3912:
3911:Rewrite rules
3909:
3907:
3901:
3899:
3896:
3894:
3891:
3889:
3886:
3884:
3881:
3879:
3876:
3875:
3873:
3869:
3865:
3858:
3853:
3851:
3846:
3844:
3839:
3838:
3835:
3823:
3822:VII–V cadence
3815:
3811:
3808:
3806:
3803:
3802:
3801:
3798:
3796:
3795:Picardy third
3793:
3791:
3788:
3786:
3783:
3781:
3778:
3776:
3773:
3771:
3768:
3766:
3763:
3761:
3758:
3757:
3754:
3750:
3743:
3738:
3736:
3731:
3729:
3724:
3723:
3720:
3712:
3710:0-19-866212-2
3706:
3702:
3697:
3682:
3681:
3675:
3671:
3665:
3661:
3656:
3652:
3646:
3642:
3637:
3636:
3624:
3620:
3617:, pp. 97-98.
3616:
3610:
3608:
3600:
3599:
3594:
3593:W. A. Mathieu
3590:
3584:
3577:
3571:
3566:
3561:
3554:
3550:
3545:
3538:
3534:
3529:
3522:
3518:
3513:
3504:
3497:
3496:0-19-816647-8
3493:
3489:
3485:
3480:
3473:
3472:0-19-816700-8
3469:
3465:
3461:
3456:
3449:
3445:
3444:0-521-30398-2
3441:
3437:
3431:
3424:
3423:0-19-816647-8
3420:
3416:
3412:
3407:
3400:
3395:
3388:
3387:0-19-510912-0
3384:
3380:
3374:
3367:
3362:
3360:
3351:
3349:0-691-09135-8
3345:
3341:
3337:
3336:
3331:
3325:
3318:
3313:
3311:
3309:
3307:
3299:
3298:0-521-54338-X
3295:
3291:
3285:
3279:, p. 74.
3278:
3273:
3266:
3262:
3258:
3253:
3245:
3243:0-8166-4189-7
3239:
3235:
3231:
3230:
3225:
3219:
3205:
3201:
3197:
3191:
3185:
3181:
3177:
3176:
3169:
3162:
3161:0-19-860884-5
3158:
3154:
3150:
3145:
3138:
3137:0-19-511539-2
3134:
3130:
3124:
3117:
3116:1-4067-3814-X
3113:
3109:
3105:
3104:Foote, Arthur
3100:
3098:
3090:
3085:
3070:
3066:
3062:
3058:
3051:
3044:
3035:
3027:
3025:0-19-510480-3
3021:
3017:
3013:
3009:
3003:
2995:
2991:
2987:
2983:
2982:
2974:
2966:
2960:
2956:
2955:
2950:
2944:
2937:
2932:
2925:
2924:0-674-01163-5
2921:
2917:
2913:
2908:
2901:
2900:87-635-0424-3
2897:
2893:
2887:
2881:, p. 38.
2880:
2875:
2868:
2867:0-582-28227-6
2864:
2860:
2856:
2852:
2851:Jonas, Oswald
2847:
2845:
2843:
2835:
2834:0-19-514640-9
2831:
2827:
2821:
2813:
2809:
2805:
2799:
2795:
2794:Tonal Harmony
2791:
2785:
2778:
2777:0-19-514399-X
2774:
2770:
2766:
2761:
2754:
2753:0-415-94391-4
2750:
2746:
2740:
2731:
2729:0-13-033233-X
2725:
2721:
2714:
2699:
2695:
2691:
2687:
2680:
2672:
2670:0-8153-3638-1
2666:
2662:
2655:
2648:
2643:
2641:
2633:
2628:
2621:
2620:0-674-00084-6
2617:
2613:
2609:
2604:
2602:
2600:
2598:
2591:, p. 90.
2590:
2585:
2581:
2570:
2569:VII–V cadence
2562:
2560:
2557:
2555:
2554:cadence rampa
2551:
2550:cadence-lypso
2547:
2544:
2542:
2539:
2537:
2534:
2532:
2529:
2527:
2524:
2522:
2519:
2517:
2514:
2512:
2509:
2507:
2504:
2503:
2490:
2479:
2477:
2475:
2470:
2453:
2442:
2440:
2429:
2418:
2416:
2412:
2408:
2406:
2405:
2400:
2386:
2370:
2368:
2364:
2355:
2339:
2332:
2316:
2314:
2313:
2308:
2299:
2283:
2281:
2277:
2273:
2271:
2267:
2263:
2260:According to
2254:
2238:
2236:
2227:
2211:
2209:
2199:
2183:
2176:
2160:
2158:
2154:
2146:
2130:
2128:
2119:
2103:
2101:
2097:
2093:
2079:
2063:
2061:
2057:
2056:
2051:
2042:
2026:
2024:
2020:
2012:
1996:
1994:
1993:
1988:
1974:
1958:
1956:
1952:
1948:
1939:
1923:
1921:
1917:
1908:
1894:
1883:
1881:
1880:perfect fifth
1877:
1873:
1869:
1865:
1861:
1860:Landini sixth
1857:
1841:
1830:
1822:
1818:
1817:Thomas Tallis
1814:
1813:
1808:
1804:
1800:
1796:
1793:
1788:
1786:
1782:
1778:
1769:
1760:
1756:
1752:
1748:
1744:
1728:
1717:
1715:
1711:
1707:
1703:
1699:
1695:
1692:music of the
1691:
1687:
1677:
1675:
1671:
1655:
1644:
1642:
1638:
1622:
1611:
1603:
1601:
1579:
1576:
1571:
1564:
1559:
1554:
1551:
1546:
1540:
1537:
1527:
1526:
1525:
1523:
1519:
1515:
1511:
1510:Carl Dahlhaus
1508:According to
1500:
1489:
1482:
1481:
1476:
1465:
1446:
1435:
1433:
1429:
1425:
1421:
1417:
1408:
1407:
1402:
1391:
1376:Clausula vera
1373:
1371:
1367:
1363:
1359:
1355:
1351:
1347:
1343:
1328:
1317:
1279:
1275:
1265:
1261:
1254:
1252:
1230:
1211:
1175:
1173:
1172:
1167:
1163:
1162:Picardy third
1156:Picardy third
1147:
1136:
1133:
1132:
1128:
1127:Susan McClary
1124:
1120:
1112:
1108:
1105:
1101:
1097:
1096:
1095:
1087:
1085:
1080:
1076:
1061:
1059:
1055:
1050:
1048:
1044:
1039:
1037:
1033:
1032:Gustav Mahler
1022:
1011:
1003:
995:
991:
980:
962:
960:
958:
953:
948:
944:
928:
917:
908:
906:
902:
901:§Half cadence
898:
892:
887:
885:
875:
864:
862:
858:
856:
845:
843:
839:
835:
831:
827:
823:
819:
803:
792:
790:
787:
783:
767:
756:
752:
739:
734:
730:
726:
710:
699:
697:
693:
692:Baroque music
689:
688:Phrygian mode
680:
676:
665:
647:
638:
627:
625:
621:
605:
594:
592:
571:
558:
545:
543:
539:
536:
532:
529:
528:
521:
507:
504:
503:
502:
488:
477:
475:
471:
467:
463:
462:root position
453:
451:
447:
443:
440:. The phrase
439:
435:
430:
426:
411:
407:
403:
399:
390:
386:
375:
357:
355:
351:
347:
343:
339:
335:
331:
327:
323:
319:
304:
301:
298:
295:
292:
289:
286:
285:
281:
278:
275:
272:
269:
266:
263:
262:
259:to dominant)
258:
254:
250:
246:
243:
241:demi-cadence
240:
237:
234:
231:
229:half cadence
228:
227:
223:
219:
215:
212:
209:
206:
203:
200:
197:
196:
192:
190:German usage
189:
187:French usage
186:
183:
180:
177:
174:
173:
162:
160:
156:
153:
149:
144:
141:
137:
132:
130:
126:
122:
118:
114:
110:
106:
102:
98:
94:
90:
86:
82:
78:
74:
71:
63:
60:
56:
52:
48:
37:
22:
4868:Tonicization
4843:Polytonality
4838:Parallel key
4798:Figured bass
4765:
4624:
4617:
4551:Simultaneity
4495:
4486:Alberti bass
4400:Major second
4395:Minor second
4282:Musical note
4266:
4149:Tadd-Dameron
3898:Double tonic
3700:
3688:. Retrieved
3679:
3659:
3640:
3614:
3596:
3588:
3583:
3575:
3560:
3552:
3549:Taruskin, R.
3544:
3536:
3528:
3520:
3512:
3503:
3487:
3479:
3463:
3455:
3435:
3430:
3414:
3406:
3394:
3378:
3373:
3368:, p. 14
3334:
3324:
3319:, p. 13
3289:
3284:
3272:
3267:, p. 9.
3265:McClary 2002
3260:
3252:
3228:
3218:
3207:. Retrieved
3190:
3173:
3168:
3152:
3144:
3128:
3123:
3107:
3084:
3072:. Retrieved
3060:
3056:
3043:
3034:
3011:
3002:
2985:
2979:
2973:
2953:
2943:
2931:
2915:
2907:
2891:
2886:
2874:
2858:
2854:
2825:
2820:
2793:
2784:
2768:
2760:
2744:
2739:
2719:
2713:
2701:. Retrieved
2689:
2679:
2660:
2654:
2649:, p. 91
2627:
2611:
2584:
2531:Drum cadence
2473:
2465:
2439:common tones
2436:
2409:
2403:
2397:Cadences in
2396:
2360:
2337:
2310:
2304:
2274:
2259:
2232:
2204:
2181:
2151:
2124:
2089:
2058:, where the
2053:
2047:
2017:
1991:
1984:
1944:
1914:
1906:
1867:
1863:
1859:
1853:
1810:
1807:scale degree
1789:
1771:
1762:
1753:against the
1751:blue seventh
1747:contrapuntal
1740:
1710:leading-tone
1702:minor second
1683:
1670:counterpoint
1667:
1640:
1634:
1609:
1596:
1507:
1487:
1483:, mm. 27–28.
1478:
1413:
1409:, mm. 34–35.
1404:
1357:
1340:
1257:
1248:
1169:
1159:
1134:
1130:
1122:
1118:
1116:
1111:appoggiatura
1093:
1083:
1074:
1072:
1051:
1040:
1036:9th Symphony
1029:
999:
956:
943:Leoš Janáček
940:
914:
894:
889:
882:
853:
851:
815:
779:
733:scale degree
722:
684:
645:
623:
619:
617:
614:Half cadence
554:
542:Leading-tone
540:
531:Inverted IAC
530:
505:
500:
459:
445:
441:
437:
433:
428:
395:
345:
341:
337:
333:
329:
325:
321:
317:
315:
302:Trugschluss
244:Halbschluss
213:Ganzschluss
152:musicologist
145:
133:
84:
76:
67:
4858:Sonata form
4823:Neotonality
4388:Dissonances
4374:Major sixth
4369:Minor sixth
4354:Major third
4349:Minor third
4337:Consonances
4307:Preparation
4302:Pedal point
4180:Ground bass
4049:IV–V–iii–vi
3871:Terminology
3690:11 November
3595:", p. 125.
3568: [
3565:Hauk, Franz
3533:Mellers, W.
3399:Latham 2002
3263:. cited in
3257:Apel, Willi
3089:Latham 2002
3074:20 November
2703:20 November
2541:Lament bass
1876:escape tone
1785:Restoration
1406:Beatus homo
1346:Renaissance
784:. Note the
624:semicadence
320:(typically
253:subdominant
101:progression
4888:Categories
4818:Modulation
4491:Banjo roll
4312:Resolution
4257:Avoid note
3916:Turnaround
3800:Turnaround
3760:Andalusian
3490:, p. 501.
3466:, p. 170.
3438:, p. 136.
3417:, p. 492.
3381:, p. 132.
3209:2008-07-19
3155:, p. 116.
3131:, p. 132.
2964:0226318087
2936:White 1976
2918:, p. 130.
2894:, p. 208.
2879:White 1976
2803:0072852607
2767:. (2000).
2747:, p. 284.
2576:References
2404:turnaround
2100:Wachet auf
1797:(compound
1714:supertonic
1674:suspension
1600:whole step
1475:Palestrina
1366:polyphonic
1362:Micrologus
1278:whole tone
1251:media help
1054:Pink Floyd
903:above and
897:modulation
834:exposition
826:consequent
822:antecedent
414:cadential
402:root chord
352:of naming
257:submediant
249:supertonic
97:resolution
79:(from
4703:Ululation
4511:Four-part
4054:Romanesca
4039:I–V–vi–IV
4024:vi–ii–V–I
3927:of chords
3925:By number
3903:Notation
3110:, p. 93.
2771:, p. 51.
2686:"Cadence"
2469:J.S. Bach
2411:Half-step
2052:’s opera
1951:Beethoven
1792:dissonant
1514:half step
1166:J.S. Bach
1119:masculine
957:New World
818:inversion
729:half step
438:imperfect
385:Beethoven
346:deceptive
338:deceptive
318:authentic
175:US usage
109:concludes
4894:Cadences
4828:Ostinato
4755:Tonality
4699:(figure)
4682:Sequence
4667:Phrasing
4650:Ornament
4630:Interval
4619:Balungan
4546:Sequence
4292:Cambiata
4277:Interval
4252:Argument
4175:Chaconne
4089:Backdoor
3960:♭
3943:I–IV–V–I
3819:♭
3749:Cadences
3486:(2005).
3462:(2001).
3413:(2005).
3332:(1990).
3259:(1970).
3226:(2002).
3106:(2007).
3010:(1998).
2951:(1994).
2914:(2003).
2853:(1982).
2812:51613969
2610:(1999).
2566:♭
2499:See also
2369:, K397:
1826:♮
1775:♮
1766:♭
1708:and the
1520:and the
1426:through
1416:harmonic
1358:occursus
1342:Medieval
1313:♯
1307:♯
1301:♯
1295:♮
1289:♭
1283:♯
1269:♯
1123:feminine
1100:downbeat
1007:♭
959:Symphony
786:parallel
745:♯
593:below.)
559:chord (V
535:inverted
398:dominant
218:dominant
159:tonality
129:rhythmic
85:cadentia
4766:Cadence
4662:Pattern
4635:Melisma
4625:Cadence
4496:Cadence
4470:Harmony
4405:Tritone
4319:Spectra
4267:Cadence
4262:Beating
4163:Related
4129:Ragtime
4114:Omnibus
4072:By name
3980: (
3888:Changes
3883:Cadence
3785:Landini
3780:English
3775:Corelli
3770:Cadenza
3633:Sources
2857:(1934:
2526:Cadenza
2096:chorale
2023:prelude
2019:Debussy
1992:Messiah
1745:, is a
1700:and/or
1360:in his
1104:measure
1079:inverts
857:cadence
789:fourths
675:chorale
568:) to a
450:voicing
434:perfect
406:seventh
216:V → I (
136:melodic
117:section
93:harmony
77:cadence
70:Western
62:harmony
4692:Timbre
4677:Rhythm
4607:Melody
4379:Octave
4344:Unison
4104:Circle
3878:Bridge
3790:Lydian
3707:
3666:
3647:
3621:
3494:
3470:
3442:
3421:
3385:
3346:
3296:
3240:
3159:
3135:
3114:
3022:
2961:
2922:
2898:
2865:
2832:
2828:, p..
2810:
2800:
2775:
2751:
2726:
2667:
2618:
2536:Kadans
2363:Mozart
2276:Chopin
2153:Dvořák
2050:Wagner
1987:Handel
1947:presto
1916:Mozart
1819:. The
1770:and G–
1690:violin
1522:ditone
1424:unison
1420:octave
1401:Lassus
1370:unison
1310:or D–C
1056:song "
1043:Brahms
990:Mozart
838:Brahms
354:chords
342:plagal
336:, and
334:plagal
113:phrase
105:chords
89:melody
4708:Voice
4672:Pitch
4655:Trill
4645:Motif
4541:Pitch
4501:Chord
4272:Chord
4144:Stomp
4019:Folía
3935:Three
3684:(PDF)
3572:]
3053:(PDF)
2476:No. 3
1866:, or
1706:tonic
1698:major
1350:dyads
1276:of a
1264:trill
1102:of a
861:hymns
470:tonic
466:roots
425:chord
222:tonic
148:tonic
125:music
121:piece
119:, or
107:that
83:
81:Latin
51:tonic
47:roots
4697:Type
4536:Note
4043:list
4002:Four
3705:ISBN
3692:2022
3664:ISBN
3645:ISBN
3619:ISBN
3492:ISBN
3468:ISBN
3440:ISBN
3419:ISBN
3383:ISBN
3344:ISBN
3294:ISBN
3238:ISBN
3157:ISBN
3133:ISBN
3112:ISBN
3076:2022
3020:ISBN
2959:ISBN
2920:ISBN
2896:ISBN
2863:ISBN
2830:ISBN
2808:OCLC
2798:ISBN
2773:ISBN
2749:ISBN
2724:ISBN
2705:2022
2665:ISBN
2616:ISBN
2552:and
2521:Coda
2399:jazz
2393:Jazz
2092:Bach
1945:The
1783:and
1684:The
1637:rest
1631:Rest
1344:and
1121:and
945:and
855:Amen
344:and
330:half
75:, a
59:part
4808:Key
4079:50s
3591:by
3180:doi
3065:doi
2990:doi
2694:doi
2471:'s
2365:'s
2278:'s
2155:’s
2090:In
2021:’s
1989:’s
1953:’s
1815:by
1759:key
1668:In
1580:243
1577:256
1477:'s
1430:in
1422:or
1403:'s
1168:'s
1034:'s
992:'s
954:’s
907:.)
622:or
544:IAC
436:or
387:'s
328:),
324:or
255:or
220:to
161:".
123:of
91:or
68:In
4890::
3703:.
3606:^
3570:de
3358:^
3305:^
3236:.
3232:.
3202:.
3096:^
3061:48
3059:.
3055:.
3014:.
2986:22
2984:.
2841:^
2806:.
2688:.
2639:^
2596:^
2548::
2441:.
2237::
1862:,
1854:A
1635:A
1524::
1434:.
1372:.
1304:–C
1286:/E
1160:A
1086:.
1077:)
1045:'
961:.
863:.
840:'
755:.
723:A
698:.
677:,
452:.
427:.
356:.
332:,
251:,
224:)
115:,
111:a
4747:e
4740:t
4733:v
4599:e
4592:t
4585:v
4462:e
4455:t
4448:v
4233:e
4226:t
4219:v
4186:)
4182:(
4045:)
4041:(
3984:)
3856:e
3849:t
3842:v
3741:e
3734:t
3727:v
3713:.
3694:.
3672:.
3653:.
3625:.
3498:.
3474:.
3425:.
3389:.
3352:.
3300:.
3246:.
3212:.
3182::
3163:.
3139:.
3118:.
3078:.
3067::
3028:.
2996:.
2992::
2967:.
2926:.
2902:.
2869:.
2814:.
2779:.
2755:.
2734:.
2732:.
2707:.
2696::
2673:.
2622:.
2491:.
2454:.
2430:.
2098:‘
1895:.
1842:.
1772:B
1763:B
1729:.
1656:.
1623:.
1572:=
1565:2
1560:)
1555:8
1552:9
1547:(
1541:3
1538:4
1501:.
1466:.
1447:.
1392:.
1329:.
1253:.
1148:.
1113:.
1106:.
1023:.
981:.
929:.
876:.
804:.
768:.
711:.
666:.
639:.
606:.
585:2
564:2
537:.
522:.
489:.
420:4
376:.
38:.
23:.
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