Cadence (music)

this article treats the cadence in the sense of a chord sequence. For the free episode of the soloist at the end of solo concerts see cadence (solo concert).

The cadence (v. lat.- it.: cadere = fall) are in the music a special succession of chords.

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conclusion cadence

authentic cadence in C major with the progression T-S-D-T

as cadence in the more special sense designates one the conclusion idiom of a piece of music or a section in chords. That is most frequentCase around a Quinte of the dominant factor on the Tonika (authentic conclusion). In this connection one speaks also of Quintfall. This pair of harmonies preceding Subdominante is typical. Often the dominant factor is played as dominance CEPT chord, which still strengthens the urge to the Tonika.In Moll standing pieces or sections can end also on the dominant factor; the conclusion cadence reaches these typically by means of VI. Stage (Plagalschluss).

extended cadence

as cadence in the more general sense one designates a more or less short harmony succession pattern, in that thoseChords by sections of the Quintenzirkels move, until it depends on the intended kind of conclusion clay/tone. Such a extended cadence can form also the harmonious basic structure for a modulation. An example of a not modulating extended cadence (see. Quintfallsequenz):

C - G - A e -F - C - F - G - C

the used chords occur all in the Quintenzirkel around the Tonika (here C major) arranged. In functional way of writing this example reads:

T - D - Tp - Dp - S - T - S - D -T
(T = Tonika, S = Subdominante, D = dominant factor, P = parallel; Capital letter = Dur, small letter = Moll.)


with a Dur - or Moll - scale leader-own three-sounds so mentioned can be provided on each stage ( each clay/tone),in each case from the selected, which after the next and that exist again two tones higher clay/tone. A Dur scale has thus the following leader-own three-sounds:

Triad gradates function function symbol
I Dur Tonika T
II Moll Subdominantparallele FR
III Moll dominance parallel Dp
IV Dur Subdominante S
V Dur dominant factor D
VI Moll Tonikaparallele Tp
VII decreased

in (natural) a Molltonleiter looks it as follows:

Triad function function symbol I
Moll Tonika t II
gradates decreases
III Dur Tonikaparallele tP
IV Moll Subdominante s
V Moll Moll-Dominante* D
VI Dur Subdominantparallele FR
VII Dur dominance parallel dP

*) In practice instead of the leader-own Moll dominant factor its Dur variant is mostly used by increase of the third in this triad (= guidance clay/tone to the Tonika).

see also

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