84:
67:
1350:
1340:
752:
272:
121:. The recapitulation often ends with a passage that sounds like a termination, paralleling the music that ended the exposition; thus, any music coming after this termination will be perceived as extra material, i.e., as a coda. In works in variation form, the coda occurs following the last variation and will be very noticeable as the first music not based on the theme.
293:
sign. It is used where the exit from a repeated section is within that section rather than at the end. The instruction "To Coda" indicates that, upon reaching that point during the final repetition, the performer is to jump immediately to the separate section headed with the coda symbol. The symbol
85:
152:, is often created by "working an idea through to its structural conclusions" and that, after all this momentum is created, a coda is required to "look back" on the main body, allow listeners to "take it all in", and "create a sense of balance."
128:
extended and intensified
Classical practice was to expand the coda sections, producing a final section sometimes of equal musical weight to the foregoing exposition, development, and recapitulation sections and completing the
191:
in the appropriate key, confirming the tonality. If the exposition is repeated, the codetta is likewise repeated. Sometimes it has its ending slightly changed, depending on whether it leads back to the exposition or into the
187:) theme, or the closing theme (if there is one). Thus, in the exposition, it usually appears in the secondary key, but, in the recapitulation, in the primary key. The codetta ordinarily closes with a
231:: "conductus with cauda", "conductus without cauda"), based on the presence of the melisma. Thus, the cauda provided a conclusionary role, similar to the modern coda.
148:
suggests that the reason codas are common, even necessary, is that, in the climax of the main body of a piece, a "particularly effortful passage", often an expanded
171:
form) has a similar purpose to the coda, but on a smaller scale, concluding a section of a work instead of the work as a whole. A typical codetta concludes the
447:
1389:
783:
477:
362:
219:
on one of the last syllables of the text, repeated in each strophe. Conducti were traditionally divided into two groups,
1379:
409:
1249:
396:
Burkhart, Charles. "The Phrase Rhythm of Chopin's A-flat Major
Mazurka, Op. 59, No. 2" in Stein, Deborah (2005).
97:
The presence of a coda as a structural element in a movement is especially clear in works written in particular
776:
1394:
1284:
1148:
263:. The coda lasted nearly four minutes, making the song's full length at just over the seven-minute mark.
74:
1374:
470:
134:
1384:
1353:
1244:
1219:
1010:
769:
531:
1254:
1204:
1093:
1000:
325:
1343:
1214:
401:
71:
893:
726:
656:
176:
110:
1325:
1189:
888:
741:
463:
247:
have sections identifiable as codas. A coda in these genres is sometimes referred to as an "
66:
1020:
818:
596:
561:
301:
sign is encoded in the
Musical Symbols block of Unicode as U+1D10C MUSICAL SYMBOL CODA: 𝄌
252:
125:
8:
1259:
1239:
721:
586:
566:
490:
255:
it is commonly called a "tag". One of the most famous codas is found in the 1968 single "
193:
1289:
911:
731:
661:
576:
546:
335:
248:
184:
172:
114:
287:, which resembles a set of crosshairs, is used as a navigation marker, similar to the
1305:
1053:
813:
808:
751:
736:
696:
511:
405:
358:
106:
441:
1264:
1068:
1043:
995:
868:
792:
621:
506:
164:
145:
130:
47:
33:
28:
1158:
1153:
1038:
1005:
921:
716:
686:
188:
55:
43:
383:
For discussion of this coda, and of codas in general, see Rosen, Charles (1988)
1315:
1028:
883:
701:
641:
636:
581:
526:
455:
280:
149:
1368:
1320:
1179:
1098:
970:
926:
863:
843:
800:
706:
616:
551:
436:
310:
244:
1234:
1224:
1199:
1110:
1073:
975:
963:
953:
916:
903:
853:
711:
606:
591:
571:
536:
486:
421:
98:
1310:
1184:
1163:
1140:
1125:
938:
873:
848:
823:
691:
651:
556:
521:
330:
260:
180:
118:
102:
51:
1209:
1083:
948:
943:
646:
451:. Vol. 6 (11th ed.). Cambridge University Press. p. 632.
294:
can be used to provide a special ending for the final verse of a song.
240:
168:
1279:
1269:
1229:
1194:
1078:
838:
601:
501:
289:
212:
109:
movements during the
Classical era. In a sonata form movement, the
1130:
1115:
958:
933:
761:
631:
626:
516:
320:
256:
681:
1105:
1088:
1063:
1048:
1033:
990:
833:
666:
315:
216:
78:
207:, a Latin word meaning "tail", "edge" or "trail" is the root of
1120:
1058:
985:
611:
1274:
980:
878:
858:
676:
228:
271:
828:
671:
440:
422:
PDF of
Musical Symbols block from the unicode consortium
215:
of the 12th and 13th centuries. The cauda was a long
117:
in its thematic content, while adhering to the home
1366:
485:
777:
471:
133:. For one famous example, see the finale of
37:
16:Passage that brings a musical piece to an end
1339:
784:
770:
478:
464:
251:", while in jazz, modern church music and
50:) to an end. It may be as simple as a few
435:
398:Engaging Music: Essays in Music Analysis
270:
65:
355:Music in Theory and Practice: Volume II
1367:
765:
459:
113:section will, in general, follow the
61:
27:
791:
266:
101:. Codas were commonly used in both
234:
13:
387:, 2nd edition. New York: Norton.
374:Benward & Saker (2009), p.151.
140:
14:
1406:
1390:Formal sections in music analysis
1349:
1348:
1338:
750:
415:
390:
377:
368:
347:
1:
429:
75:Piano Sonata no. 7 in C Major
54:, or as complex as an entire
353:Benward & Saker (2009).
211:and is used in the study of
7:
1149:History of music publishing
304:
36:for 'tail'; plural
10:
1411:
199:
155:
135:Symphony No. 8 (Beethoven)
46:that brings a piece (or a
1380:Italian words and phrases
1354:Category:Musical notation
1334:
1298:
1220:Numbered musical notation
1172:
1139:
1019:
1011:Scientific pitch notation
902:
799:
748:
497:
357:, p.355. Eighth Edition.
1001:Helmholtz pitch notation
341:
326:Fade (audio engineering)
183:, following the second (
1344:List of musical symbols
1215:Nashville Number System
448:Encyclopædia Britannica
402:Oxford University Press
167:for "little tail", the
894:Transposing instrument
276:
179:sections of a work in
94:
38:
274:
124:One of the ways that
69:
562:Developing variation
253:barbershop arranging
243:and other genres of
225:conductus sine cauda
81:309, I, mm. 152–155
1395:Musical terminology
1240:Percussion notation
722:Thirty-two-bar form
587:Formula composition
221:conductus cum cauda
400:, p.12. New York:
336:Transition (music)
277:
95:
62:In classical music
1375:Auxiliary members
1362:
1361:
1306:Mensural notation
759:
758:
742:Verse–chorus form
697:Sonata rondo form
532:Call and response
512:Ausmultiplikation
363:978-0-07-310188-0
267:In music notation
1402:
1385:Musical notation
1352:
1351:
1342:
1341:
1205:Graphic notation
869:Rehearsal letter
793:Musical notation
786:
779:
772:
763:
762:
754:
727:Through-composed
480:
473:
466:
457:
456:
452:
444:
424:
419:
413:
394:
388:
381:
375:
372:
366:
351:
235:In popular music
146:Charles Burkhart
131:musical argument
92:
91:
90:
88:
41:
31:
29:[ˈkoːda]
26:
1410:
1409:
1405:
1404:
1403:
1401:
1400:
1399:
1365:
1364:
1363:
1358:
1330:
1294:
1168:
1159:Music publisher
1154:Music engraving
1135:
1015:
1006:Letter notation
898:
795:
790:
760:
755:
746:
493:
484:
432:
427:
420:
416:
395:
391:
382:
378:
373:
369:
352:
348:
344:
307:
269:
237:
202:
189:perfect cadence
158:
143:
141:Musical purpose
86:
83:
82:
64:
24:
17:
12:
11:
5:
1408:
1398:
1397:
1392:
1387:
1382:
1377:
1360:
1359:
1357:
1356:
1346:
1335:
1332:
1331:
1329:
1328:
1323:
1318:
1313:
1308:
1302:
1300:
1296:
1295:
1293:
1292:
1287:
1282:
1277:
1272:
1267:
1262:
1257:
1252:
1247:
1242:
1237:
1232:
1227:
1222:
1217:
1212:
1207:
1202:
1197:
1192:
1187:
1182:
1176:
1174:
1170:
1169:
1167:
1166:
1161:
1156:
1151:
1145:
1143:
1137:
1136:
1134:
1133:
1128:
1123:
1118:
1113:
1108:
1103:
1102:
1101:
1096:
1091:
1086:
1081:
1076:
1066:
1061:
1056:
1051:
1046:
1041:
1036:
1031:
1025:
1023:
1017:
1016:
1014:
1013:
1008:
1003:
998:
993:
988:
983:
978:
973:
968:
967:
966:
961:
956:
946:
941:
936:
931:
930:
929:
924:
919:
908:
906:
900:
899:
897:
896:
891:
886:
884:Time signature
881:
876:
871:
866:
861:
856:
851:
846:
841:
836:
831:
826:
821:
816:
811:
805:
803:
797:
796:
789:
788:
781:
774:
766:
757:
756:
749:
747:
745:
744:
739:
734:
729:
724:
719:
714:
709:
704:
702:Song structure
699:
694:
689:
684:
679:
674:
669:
664:
659:
657:Recapitulation
654:
649:
644:
639:
634:
629:
624:
619:
614:
609:
604:
599:
594:
589:
584:
579:
574:
569:
564:
559:
554:
549:
544:
539:
534:
529:
524:
519:
514:
509:
504:
498:
495:
494:
483:
482:
475:
468:
460:
454:
453:
439:, ed. (1911).
437:Chisholm, Hugh
431:
428:
426:
425:
414:
389:
376:
367:
345:
343:
340:
339:
338:
333:
328:
323:
318:
313:
306:
303:
281:music notation
268:
265:
239:Many songs in
236:
233:
201:
198:
177:recapitulation
157:
154:
142:
139:
111:recapitulation
63:
60:
15:
9:
6:
4:
3:
2:
1407:
1396:
1393:
1391:
1388:
1386:
1383:
1381:
1378:
1376:
1373:
1372:
1370:
1355:
1347:
1345:
1337:
1336:
1333:
1327:
1326:Transcription
1324:
1322:
1321:Sight-reading
1319:
1317:
1316:Perfect pitch
1314:
1312:
1309:
1307:
1304:
1303:
1301:
1297:
1291:
1288:
1286:
1283:
1281:
1278:
1276:
1273:
1271:
1268:
1266:
1263:
1261:
1258:
1256:
1253:
1251:
1250:Ancient Greek
1248:
1246:
1243:
1241:
1238:
1236:
1233:
1231:
1228:
1226:
1223:
1221:
1218:
1216:
1213:
1211:
1208:
1206:
1203:
1201:
1198:
1196:
1193:
1191:
1190:Chord diagram
1188:
1186:
1183:
1181:
1180:Braille music
1178:
1177:
1175:
1173:Other systems
1171:
1165:
1162:
1160:
1157:
1155:
1152:
1150:
1147:
1146:
1144:
1142:
1138:
1132:
1129:
1127:
1124:
1122:
1119:
1117:
1114:
1112:
1109:
1107:
1104:
1100:
1097:
1095:
1092:
1090:
1087:
1085:
1082:
1080:
1077:
1075:
1072:
1071:
1070:
1067:
1065:
1062:
1060:
1057:
1055:
1052:
1050:
1047:
1045:
1042:
1040:
1037:
1035:
1032:
1030:
1027:
1026:
1024:
1022:
1018:
1012:
1009:
1007:
1004:
1002:
999:
997:
994:
992:
989:
987:
984:
982:
979:
977:
974:
972:
969:
965:
962:
960:
957:
955:
952:
951:
950:
947:
945:
942:
940:
937:
935:
932:
928:
925:
923:
920:
918:
915:
914:
913:
910:
909:
907:
905:
904:Musical notes
901:
895:
892:
890:
889:Transposition
887:
885:
882:
880:
877:
875:
872:
870:
867:
865:
862:
860:
857:
855:
852:
850:
847:
845:
844:Key signature
842:
840:
837:
835:
832:
830:
827:
825:
822:
820:
817:
815:
812:
810:
807:
806:
804:
802:
798:
794:
787:
782:
780:
775:
773:
768:
767:
764:
753:
743:
740:
738:
735:
733:
730:
728:
725:
723:
720:
718:
715:
713:
710:
708:
707:Strophic form
705:
703:
700:
698:
695:
693:
690:
688:
685:
683:
680:
678:
675:
673:
670:
668:
665:
663:
660:
658:
655:
653:
650:
648:
645:
643:
640:
638:
635:
633:
630:
628:
625:
623:
620:
618:
615:
613:
610:
608:
605:
603:
600:
598:
595:
593:
590:
588:
585:
583:
580:
578:
575:
573:
570:
568:
565:
563:
560:
558:
555:
553:
550:
548:
545:
543:
540:
538:
535:
533:
530:
528:
525:
523:
520:
518:
515:
513:
510:
508:
505:
503:
500:
499:
496:
492:
488:
481:
476:
474:
469:
467:
462:
461:
458:
450:
449:
443:
438:
434:
433:
423:
418:
411:
410:0-19-517010-5
407:
403:
399:
393:
386:
380:
371:
364:
360:
356:
350:
346:
337:
334:
332:
329:
327:
324:
322:
319:
317:
314:
312:
311:Coda (ballet)
309:
308:
302:
300:
295:
292:
291:
286:
282:
273:
264:
262:
258:
254:
250:
246:
245:popular music
242:
232:
230:
226:
222:
218:
214:
210:
206:
197:
195:
190:
186:
182:
178:
174:
170:
166:
162:
153:
151:
147:
138:
136:
132:
127:
122:
120:
116:
112:
108:
104:
100:
99:musical forms
89:
80:
76:
73:
68:
59:
57:
53:
49:
45:
40:
35:
30:
22:
1225:Klavarskribo
1200:Figured bass
1074:Appoggiatura
1021:Articulation
819:Abbreviation
712:Ternary form
597:Introduction
541:
487:Musical form
446:
442:"Coda"
417:
397:
392:
385:Sonata Forms
384:
379:
370:
354:
349:
298:
296:
288:
284:
278:
238:
224:
220:
208:
204:
203:
160:
159:
144:
123:
96:
20:
19:In music, a
18:
1311:Music stand
1185:Chord chart
1164:Scorewriter
1141:Sheet music
939:Dotted note
874:Repeat sign
849:Ledger line
692:Sonata form
652:Post-chorus
567:Development
557:Cyclic form
522:Binary form
491:development
331:Repeat sign
285:coda symbol
261:the Beatles
194:development
181:sonata form
103:sonata form
1369:Categories
1285:Shakuhachi
1260:Ekphonetic
1245:Simplified
1210:Lead sheet
1084:Grace note
949:Note value
944:Grace note
912:Accidental
732:Transition
662:Repetition
647:Pre-chorus
577:Exposition
547:Conclusion
430:References
196:sections.
173:exposition
169:diminutive
115:exposition
70:Coda from
25:pronounced
1280:Swaralipi
1270:Kunkunshi
1230:Tablature
1195:Eye music
1079:Glissando
1054:Fingering
839:Dal segno
737:Variation
602:Leitmotif
502:Arch form
290:dal segno
275:Coda sign
213:conductus
185:modulated
126:Beethoven
107:variation
1290:Znamenny
1131:Tonguing
1116:Staccato
1069:Ornament
1044:Dynamics
996:Interval
959:Notehead
934:Cue note
632:Overture
627:Ostinato
622:Movement
517:Bar form
507:Argument
321:Epilogue
305:See also
257:Hey Jude
72:Mozart's
52:measures
48:movement
1299:Related
1265:Gamelan
1255:Chinese
1235:Parsons
1106:Portato
1089:Mordent
1064:Marcato
1049:Fermata
1039:Damping
1034:Caesura
991:Tremolo
922:natural
834:Da capo
687:Section
667:Reprise
316:Da capo
217:melisma
200:History
165:Italian
161:Codetta
156:Codetta
56:section
44:passage
42:) is a
34:Italian
1121:Tenuto
1059:Legato
1029:Accent
986:Tuplet
642:Phrase
637:Period
612:Melody
582:Finale
527:Bridge
408:
361:
283:, the
150:phrase
1275:Neume
1099:Trill
1094:Slide
981:Tacet
971:Pitch
927:sharp
879:Tempo
864:Scale
859:Ossia
801:Staff
717:Theme
682:Rondò
677:Rondo
617:Motif
552:Cycle
342:Notes
259:" by
249:outro
229:Latin
205:Cauda
1111:Slur
976:Rest
964:stem
954:beam
917:flat
854:Mode
829:Clef
672:Riff
607:Lick
592:Hook
572:Drop
542:Coda
537:Cell
489:and
406:ISBN
359:ISBN
299:coda
297:The
241:rock
223:and
209:coda
175:and
105:and
87:Play
39:code
21:coda
1126:Tie
824:Bar
279:In
119:key
1371::
814:15
445:.
404:,
137:.
79:K.
77:,
58:.
32:;
809:8
785:e
778:t
771:v
479:e
472:t
465:v
412:.
365:.
227:(
163:(
93:.
23:(
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
