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Cadences

Module by: Anthony Brandt. E-mail the author

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Please note that you must have the most recent copy of Macromedia's Flash plugin installed to play the musical examples.

A cadence is a harmonic arrival point. Cadences are the pillars of harmonic structures; They mark a work’s harmonic destinations.

In the Chorale settings of J.S. Bach, the rhythm pauses at each cadence.

In other music, cadences punctuate the end of phrases.

Cadences serve as a musical GPS: They help you locate yourself harmonically. If the cadences keep returning to the same chord, the harmonic voyage is very circumscribed. In this excerpt from Ludwig van Beethoven’s Piano Concerto No. 3 in c-minor, the music wanders harmonically but keeps cadencing to the same harmonic goal. The last of these cadences, just before the piano enters, is particularly emphatic.

This excerpt from Arvo Pärt’s Fratres creates a solemn stasis by repeatedly cadencing in the same place.

If, however, the cadences roam more widely, the harmonic structure is more adventurous. In this example from Wolfgang Amadeus Mozart's Piano Concerto No. 17 in G-Major, the cadence points change, propelling the music towards new goals.

The central advice of Hearing Harmony is “Listen for cadences, not for chords.” Cadences reveal crucial information: They tell you the mode; and they show you if the harmony is moving or staying put. As we will explore in the succeeding modules, following the trajectory of the cadences is the key to hearing large-scale harmonic structure.

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Musical Examples
  1. Johann Sebastian Bach, Chorale 'Gloria sei dir gesungen' from Cantata No. 140, The Bach Ensemble, Joshua Rifkin, conductor
  2. Ludwig van Beethoven, Piano Concerto No. 4 - I, Artur Schnabel, piano, Chicago Symphony, Frederick Stock, conductor
  3. Ludwig van Beethoven, Concerto for Piano and Orchestra No. 3 - I, Murray Perahia, piano, Concertgebouw Orchestra, Bernard Haitink, conductor
  4. Arvo Pärt, Fratres (version for violin, strings and percussion), Tamas Benedck, violin, Hungarian State Opera Orchestra
  5. Wolfgang Amadeus Mozart, Piano Concerto No. 17 in G-major - I, Murray Perahia, piano, English Chamber Orchestra
Johann Sebastian Bach, Chorale 'Gloria sei dir gesungen' from Cantata No. 140, The Bach Ensemble, Joshua Rifkin, conductor (0:36)
Johann Sebastian Bach, Chorale 'Gloria sei dir gesungen' from Cantata No. 140, The Bach Ensemble, Joshua Rifkin, conductor (0:36)
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L'Oiseau Lyre
Ludwig van Beethoven, Piano Concerto No. 4 - I, Artur Schnabel, piano, Chicago Symphony, Frederick Stock, conductor (0:20)
Ludwig van Beethoven, Piano Concerto No. 4 - I, Artur Schnabel, piano, Chicago Symphony, Frederick Stock, conductor (0:20)
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BMG Classics
Ludwig van Beethoven, Concerto for Piano and Orchestra No. 3 - I, Murray Perahia, piano, Concertgebouw Orchestra, Bernard Haitink, conductor (0:58)
Ludwig van Beethoven, Concerto for Piano and Orchestra No. 3 - I, Murray Perahia, piano, Concertgebouw Orchestra, Bernard Haitink, conductor (0:58)
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Sony B000026O8
Arvo Pärt, Fratres (version for violin, strings and percussion), Tamas Benedck, violin, Hungarian State Opera Orchestra (0:36)
Arvo Pärt, Fratres (version for violin, strings and percussion), Tamas Benedck, violin, Hungarian State Opera Orchestra (0:36)
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Naxos
Wolfgang Amadeus Mozart, Piano Concerto No. 17 in G-major - I, Murray Perahia, piano, English Chamber Orchestra (0:39)
Wolfgang Amadeus Mozart, Piano Concerto No. 17 in G-major - I, Murray Perahia, piano, English Chamber Orchestra (0:39)
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Sony Classical