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[[Image:Ii-V-I turnaround in C four-part harmony.png|thumb|300px|Perfect authentic cadence (V-I with roots in the bass and tonic in the highest voice of the final chord): [[ii-V-I progression]] in C, four-part harmony (Benward & Saker 2003, p.90.). {{audio|Ii-V-I turnaround in C four-part harmony.mid|Play}}]]

In [[Classical music|Western]] [[musical theory]], a '''cadence''' (Latin ''cadentia'', "a falling") is, "a melodic or [[harmonic]] configuration that creates a sense of repose or [[resolution (music)|resolution]] [finality or pause]."<ref name="Randel">Don Michael Randel (1999). ''The Harvard Concise Dictionary of Music and Musicians'', p.105. ISBN 0-674-00084-6.</ref> A '''harmonic cadence''' is a [[chord progression|progression]] of (at least) two [[chord (music)|chord]]s that [[conclusion (music)|concludes]] a [[phrase (music)|phrase]], [[section (music)|section]], or [[composition (music)|piece]] of [[music]].<ref>Benward & Saker (2003). ''Music: In Theory and Practice'', Vol. I, p.359. Seventh Edition. ISBN 978-0-07-294262-0.</ref> A '''rhythmic cadence''' is a characteristic [[rhythm]]ic pattern that indicates the end of a phrase.<ref name="B&S 91">Benward & Saker (2003). p.91.</ref> Cadences give phrases a distinctive ending that can, for example, indicate whether the piece is to continue or has concluded. An analogy may be made with [[punctuation]].<ref>Benward & Saker (2003). p.89.</ref> Weaker cadences act as "commas" that indicate a pause or momentary rest, while a stronger cadence acts as a "period" that signals the end of the phrase or [[sentence (music)|sentence]]. A cadence is labeled more or less "weak" or "strong" depending on its sense of finality. While cadences are usually classified by specific chord or [[melodic]] 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. [[Harmonic rhythm]] plays an important part in determining where a cadence occurs.

Cadences are strong indicators of the [[tonic (music)|tonic]] or central pitch of a passage or piece.<ref name="Randel"/> [[Edward Lowinsky]] thought that the cadence was the "cradle of [[tonality]]."<ref>Judd, Cristle Collins (1998). "Introduction: Analyzing Early Music", ''Tonal Structures of Early Music'', {{Page needed|date=May 2010}}. (ed. Judd). New York: Garland Publishing. ISBN 0-8153-2388-3.</ref>

==Classification of cadences in common practice tonality with examples==
{{multiple image
| align = right
| direction = vertical
| width = 200
| image1 = Perfect authentic cadence in C major.png
| width1 =
| alt1 =
| caption1 = PAC (V–I progression in C {{audio|Perfect authentic cadence in C major.mid|Play}})
| image2 = Imperfect authentic cadence in C.png
| width2 =
| alt2 =
| caption2 = IAC (V–I progression in C {{audio|Imperfect authentic cadence in C.mid|Play}})
| image3 = Evaded cadence in C.png
| width3 =
| alt3 =
| caption3 =Evaded cadence (V–V42–I6 progression in C {{audio|Evaded cadence in C.mid|Play}})
}}
In music of the [[common practice period]], cadences are divided into four types according to their harmonic progression: ''authentic,'' ''plagal,'' ''half,'' and ''deceptive''. Typically, phrases end on authentic or half cadences, and the terms ''plagal'' and ''deceptive'' refer to motion that avoids or follows a phrase-ending cadence. Each cadence can be described using the [[Roman numeral analysis|Roman numeral system]] of naming [[chord (music)|chords]]:

===Authentic cadence===
*'''Authentic''' (also '''closed''' or '''standard''')''' cadence''': [[Dominant (music)|V]] to [[root (chord)|I]] (or [[I–IV–V–I|V–I]]). A seventh above the root is often added to create [[Dominant seventh chord|V7]]. The ''The Harvard Concise Dictionary of Music and Musicians'' 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."<ref name="Randel"/> The phrase ''perfect cadence'' is sometimes used as a synonym for ''authentic cadence'', but can also have a more precise meaning depending on the chord [[voicing (music)|voicing]]:[[Image:Beethoven - Piano Sonata, Op. 13 perfect authentic cadence.png|thumb|Beethoven – Piano Sonata, Op. 13 perfect authentic cadence.<ref>White, John D. (1976). ''The Analysis of Music'', p.34. ISBN 0-13-033233-X.</ref> {{audio|Beethoven - Piano Sonata, Op. 13 perfect authentic cadence.mid|Play}}]]
**'''Perfect authentic cadence''' (PAC): The chords are in [[root position]]; that is, the roots of both chords are in the bass, and the tonic (the same pitch as root of the final chord) is in the highest voice of the final chord. A PAC is a progression from V to I in major keys, and V to i in minor keys. This is generally the strongest type of cadence and often found at structurally defining moments.<ref>Thomas Benjamin, Johann Sebastian Bach (2003). ''The Craft of Tonal Counterpoint'', p.284. ISBN 0-415-94391-4.</ref> "This strong cadence achieves complete harmonic and melodic closure."<ref>Caplin, William E. (2000). ''Classical Form: A Theory of Formal Functions for the Instrumental Music of Haydn, Mozart, and Beethoven'', p.51. ISBN 0-19-514399-X.</ref>
**'''Imperfect authentic cadence''' (IAC), best divided into three separate categories:
***'''''1. Root position IAC''''': similar to a PAC, but the highest voice is not the tonic ("do" or the root of the tonic chord).
***'''''2. Inverted IAC''''': similar to a PAC, but one or both chords is [[inversion (music)|inverted]].
***'''''3. Leading tone IAC''''': the V chord is replaced with the viio/[[tritone substitution|subV]] chord (but the cadence still ends on I).
**'''Evaded cadence''': V{{su|b=2|p=4}} to I{{su|p=6}}.<ref>Darcy and Hepokoski (2006). ''Elements of Sonata Theory: Norms, Types, and Deformations in the Late-Eighteenth-Century Sonata'', p.. ISBN 0-19-514640-9. "the unexpected motion of a cadential dominant chord to a I6 (instead of the normatively cadential I)"</ref> Because the seventh must fall step wise, it forces the cadence to resolve to the less stable first inversion chord. Usually to achieve this a root position V changes to a V{{su|b=2|p=4}} right before resolution, thereby "evading" the cadence.

===Half cadence===
{{multiple image
| align = right
| direction = vertical
| width = 200
| image1 = Half cadence in C.png
| width1 =
| alt1 =
| caption1 = Half cadence (I–V progression in C major {{audio|Half cadence in C.mid|Play}})
| image2 = Phrygian half cadence in C.png
| width2 =
| alt2 =
| caption2 = Phrygian half cadence (i–v6–iv6–V progression in c minor {{audio|Phrygian half cadence in C.mid|Play}})
| image3 = Phrygian cadence on E.png
| width3 =
| alt3 =
| caption3 = Phrygian cadence (voice-leading) on E<ref name="Randel">Don Michael Randel (1999). ''The Harvard Concise Dictionary of Music and Musicians'', p.106. ISBN 978-0-674-00084-1.</ref> {{audio|Phrygian cadence on E.mid|Play}}
| image4 = Lydian cadence.png
| width4 =
| alt4 =
| caption4 = Lydian cadence (voice-leading) on E<ref name="Randel"/> {{audio|Lydian cadence.mid|Play}})
| image5 = Burgundian cadence on G.png
| width5 =
| alt5 =
| caption5 = Burgundian cadence on G<ref name="White129"/> {{audio|Burgundian cadence on G.mid|Play}})
}}
[[Image:Bach - Chorale- Schau Lieber Gott phrygian cadence.png|thumb|Phrygian cadence in Bach's ''Schau Lieber Gott'' Chorale.<ref>White (1976), p.38.</ref> {{audio|Bach - Chorale- Schau Lieber Gott phrygian cadence.mid|Play}}]]
*'''Half cadence''' ("'Imperfect Cadence'" or '''semicadence'''): any cadence ending on V, whether preceded by 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.<ref name="Jonas"/>
**'''Phrygian half-cadence''': a half cadence from iv6 to V in minor, so named because the semitonal motion in the bass (flat sixth degree to fifth degree) resembles the semitone heard in the ii–I of the ancient (15th century) cadence in the [[Phrygian mode]]. Due to its being a survival from modal Renaissance harmony this cadence gives an archaic sound, especially when preceded by v (v-iv6-V).<ref>Finn Egeland Hansen (2006). ''Layers of musical meaning'', p.208. ISBN 87-635-0424-3.</ref> A characteristic gesture in [[Baroque music]], the Phrygian cadence often concluded a slow movement immediately followed by a faster one.<ref>Randel, Don Michael (2003). ''The Harvard Dictionary of Music'', p.130. ISBN 0-674-01163-5.</ref> With the addition of motion in the upper part to the sixth degree, it becomes the [[Landini cadence]].<ref name="Randel"/>
**[[Lydian cadence]]: The Lydian half-cadence is similar to the Phrygian-half, involving iv6-V in the minor, the difference is that in the Lydian-half, the whole iv6 is raised by 1/2 step – in other words, the Phrygian-half begins with the first chord built on scale degree P4 and the Lydian-half is built on the scale degree 4+ (augmented 4th).{{citation needed|date=April 2012}} The Phrygian cadence ends with the movement from iv6 → V of bass (3rd of the chord/scale degree 6m) down by semi-tone → bass (the root of the chord/scale degree P5), fifth (scale degree P1) up by whole-tone → fifth (scale degree 2M), and the root (scale degree P4) up by whole-step → octave (scale degree P1/P8); the Lydian half-cadence ends with the movement from a iv6 (raised by half step) → V of bass (3rd of the chord/scale degree 6M) down by whole-tone → bass (the root of the chord/scale degree P5), fifth (scale degree 1+) up by half-step → fifth (scale degree 2M), and the root (scale degree 4+) up by half-step → octave (scale degree P1/P8).
**'''Burgundian cadences''': Became popular in [[Burgundian School|Burgundian music]]. Note the parallel fourths between the upper voices.<ref name="White129">White (1976), p.129-130.</ref>

===Plagal cadence===
[[Image:Plagal cadence in C.png|thumb|200px|Plagal cadence (IV-I progression in C {{audio|Plagal cadence in C.mid|Play}})]]
*'''Plagal cadence''': IV to I, also known as the "[[Amen]] Cadence" because of its frequent setting to the text "Amen" in [[hymns]]. [[William Caplin]] disputes the existence of plagal cadences in music of the classical era: "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 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."<ref>
{{Cite book
| last = Caplin
| first = William E.
| authorlink = William E. Caplin
| title = Classical Form: A Theory of Formal Functions for the Instrumental Music of Haydn, Mozart and Beethoven
| publisher = [[Oxford University Press]]
| year = 1998
| pages = 43–45
| isbn = 0-19-510480-3}}</ref> It may be noticed that the plagal cadence, "leaves open the possibility of interpretation as V-I-V" rather than I-IV-I.<ref name="Jonas">[[Oswald Jonas|Jonas, Oswald]] (1982). ''Introduction to the Theory of Heinrich Schenker'' (1934: ''Das Wesen des musikalischen Kunstwerks: Eine Einführung in Die Lehre Heinrich Schenkers''), p.24. Trans. John Rothgeb. ISBN 0-582-28227-6.</ref> The term "minor plagal cadence" is used to refer to the iv-I progression. Sometimes a combination of major and minor plagal cadence is used (IV-iv-I); for a progression with similar sonorities, see [[backdoor progression]].

===Interrupted (or Deceptive) cadence===

[[Image:Deceptive cadence in C.png|thumb|200px|Deceptive cadence (V-vi progression in C {{audio|Deceptive cadence in C.mid|Play}}).]]
[[Image:Mozart - Sonata in C Major, K. 330, 2nd Movement deceptive cadence.png|thumb|Deceptive cadence in [[Wolfgang Amadeus Mozart|Mozart's]] Sonata in C Major, K. 330, second movement.<ref name="Jonas"/> {{audio|Mozart - Sonata in C Major, K. 330, 2nd Movement deceptive cadence.mid|Play}}]]

*'''Interrupted cadence''': V to any chord other than I (typically ii, IV6, iv6, vi or VI). The most important [[irregular resolution]],<ref name="Foote">Foote, Arthur (2007). ''Modern Harmony in its Theory and Practice'', p.93. ISBN 1-4067-3814-X.</ref> most commonly V7-vi in major or V7-VI in minor.<ref name="Foote"/><ref>Owen, Harold (2000). ''Music Theory Resource Book'', p.132. ISBN 0-19-511539-2.</ref> This is considered a weak cadence because of the "hanging" (suspended) feel it invokes. One of the most famous examples is in the coda of the [[Passacaglia and Fugue in C minor, BWV 582]] by [[Johann Sebastian Bach]]: Bach repeats a chord sequence ending with V over and over, leading the listener to expect resolution to I—only to be thrown off completely with a [[fermata]] on a striking, D-flat major chord in first inversion ({{music|b}}II–the [[Neapolitan chord]]). After a pregnant pause, the "real" ending commences. At the beginning of the final movement of [[Gustav Mahler]]'s [[Symphony No. 9 (Mahler)|9th Symphony]], the listener hears a string of many deceptive cadences progressing from V to IV6.

===Inverted cadence===
An inverted cadence (also called a '''medial cadence''') inverts the last chord. It may be restricted only to the perfect and imperfect cadence, or only to the perfect cadence, or it apply to cadences of all types.<ref>Kennedy, Michael, ed. (2004). ''The Concise Oxford Dictionary of Music'', p.116. ISBN 0-19-860884-5.</ref> To distinguish them from this form, the other, more common forms of cadences listed above are known as "radical cadences."<ref>"[http://www.oxfordmusiconline.com.ezp2.lib.umn.edu/subscriber/article/grove/music/18241 Medial cadence]." Grove Music Online. Oxford Music Online. Oxford University Press. Web. 23 Jul. 2013.</ref>

===Upper leading-tone cadence===
[[Image:Escribano - Lamentation, upper leading-tone cadence.png|thumb|200px|Cadence featuring an upper leading tone from a well known 16th-century lamentation, the debate over which was documented in Rome c.1540.<ref>Berger, Karol (1987). ''Musica Ficta: Theories of Accidental Inflections in Vocal Polyphony from Marchetto da Padova to Gioseffo Zarlino'', p.148. Cambridge and New York: Cambridge University Press. ISBN 0-521-54338-X.</ref> {{audio|Escribano - Lamentation, upper leading-tone cadence.mid|Play upper-leading tone trill}} {{audio|Escribano - Lamentation, upper leading-tone cadence diatonic.mid|Play diatonic trill}}]]

For example, in the image (right), the final three written notes in the upper voice are B-C-D, in which case a [[trill (music)|trill]] on C produces D. However, convention implied a C{{music|sharp}}, and a cadential trill of a [[whole tone]] on the second to last note produces D{{music|sharp}}/E{{music|flat}}, the upper leading-tone of D{{music|natural}}. Presumably the debate was over whether to use C{{music|sharp}}-D{{music|sharp}} or C{{music|sharp}}-D for the trill.

===Rhythmic classifications===

Cadences can also be classified by their rhythmic position. A "metrically accented cadence" occurs on a strong position, typically the downbeat of a [[bar (music)|measure]]. A "metrically unaccented cadence" occurs in a metrically weak position, for instance, after a long [[appoggiatura]]. Metrically accented cadences are considered stronger and are generally of greater structural significance. In the past the terms "masculine" and "feminine" were sometimes used to describe rhythmically "strong" or "weak" cadences, but this terminology is no longer acceptable to some.<ref>{{Cite web
| last = Society for Music Theory
| authorlink = Society for Music Theory
| title = Guidelines for Nonsexist Language
| work =
| publisher = [[Western Michigan University]]
| date = 1996-06-06
| url = http://www.wmich.edu/mus-theo/nsl.html
| doi =
| accessdate = 2008-07-19}}</ref> [[Susan McClary]] has written extensively on the gendered terminology of music and music theory in her book ''Feminine Endings.''<ref>{{Cite book
| last = McClary | first = Susan
| authorlink = Susan McClary
| title = Feminism and Music
| publisher = [[University of Minnesota Press]]
| year = 2002
| isbn = 0-8166-4189-7
| url = http://books.google.ca/books?id=7waGip0qN6sC}}</ref>
{{multiple image
| align = right
| direction =vertical
| width = 200
| image1 = Metrically unaccented perfect authentic cadence in C.png
| width1 =
| alt1 =
| caption1 = Metrically unaccented cadence (IV64-V7-I progression in C {{audio|Metrically unaccented perfect authentic cadence in C.mid|Play}}). Final chord postponed to fall on a weak beat.<ref>Apel, Willi (1970). ''Harvard Dictionary of Music''. cited in McClary, Susan (2002). ''Feminine Endings: Music, Gender, and Sexuality'', p.9. ISBN 0-8166-4189-7.</ref>
| image2 = Bar-line shift on metric accent.png
| width2 =
| alt2 =
| caption2 = [[Bar-line shift]]'s effect on metric accent: [[phrase (music)|first two lines]] vs. second two lines<ref>Newman, William S. (1995). ''Beethoven on Beethoven: Playing His Piano Music His Way'', p.170-71. ISBN 0-393-30719-0.</ref> {{audio|Bar-line shift on metric accent.mid|Play}}.
}}

Likewise, cadences can be classified as either transient (a pause, like a [[comma]] in a [[sentence (linguistics)|sentence]], that implies the piece will continue after a brief lift in the voice) or terminal (more conclusive, like a [[full stop|period]], that implies the sentence is done).{{Citation needed|date=March 2010}} Most transient cadences are half cadences (which stop momentarily on a dominant chord), though IAC or deceptive cadences are also usually transient, as well as Phrygian cadences. Terminal cadences are usually PAC or sometimes plagal cadences.

==Cadences in medieval and Renaissance polyphony==
[[Image:Clausula vera cadence from Lassus.png|thumb|200px|Clausula vera cadence from [[Orlande de Lassus|Lassus]]'s ''[[Beatus homo]]'', mm. 34–35<ref name="B&S"/> {{audio|Clausula vera cadence from Lassus.mid|Play}}). Note the half step in one voice and the whole step in the other.]]
[[Image:Three voice clausula vera from Palestrina.png|thumb|right|200px|Three voice clausula vera from [[Giovanni Pierluigi da Palestrina|Palestrina]]'s ''[[List of compositions by Giovanni Pierluigi da Palestrina|Magnificat Secundi Toni: Deposuit potentes]]'', mm. 27–28<ref name="B&S"/> {{audio|Three voice clausula vera from Palestrina.mid|Play}}.]]

[[Medieval music|Medieval]] and [[Renaissance music|Renaissance]] cadences are based upon [[dyad (music)|dyads]] rather than chords. The first theoretical mention of cadences comes from [[Guido of Arezzo]]'s description of the ''occursus'' in his [[Micrologus]], where he uses the term to mean where the two lines of a two-part [[polyphony|polyphonic]] phrase end in a [[unison]].

A '''clausula''' or '''clausula vera''' ("true close") is a dyadic or intervallic, rather than chordal or [[harmony|harmonic]], cadence. In a clausula vera two voices approach an octave or unison through [[steps and skips|stepwise motion]].<ref name="B&S">Benward & Saker (2009). ''Music in Theory and Practice: Volume II'', p.13. Eighth Edition. ISBN 978-0-07-310188-0.</ref> This is also in [[contrapuntal motion|contrary motion]]. In three voices the third voice often adds a falling fifth creating a cadence similar to the authentic cadence in tonal music.<ref name="B&S"/>

According to [[Carl Dahlhaus]], "as late as the 13th century the [[half step]] was experienced as a problematic interval not easily understood, as the irrational remainder between the perfect fourth and the ditone:
:<math>\textstyle{{{4 \over 3} \over \left ({9 \over 8} \right )^2} = {256 \over 243} }\,\!</math><ref>
{{Cite book
| last = Dahlhaus
| first = Carl
| authorlink = Carl Dahlhaus
| title = Studies in the Origin of Harmonic Tonality
| others = trans. Robert O. Gjerdingen
| publisher = [[Princeton University Press]]
| year = 1990
| isbn = 0-691-09135-8}}</ref>
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. Beginning in the 13th century cadences begin to require motion in one voice by half step and the other a [[whole step]] in contrary motion. In the 14th century, an ornamentation of this, with an [[escape tone]], became known as the [[Landini cadence]], after [[Francesco Landini|the composer]], who used them prodigiously.

[[Image:Renaissance plagal cadence.png|thumb|150px|Renaissance plagal cadence {{audio|Renaissance plagal cadence.mid|Play}}).]]
[[Image:Renaissance full cadence.png|thumb|150px|Clausula vera for comparison {{audio|Renaissance full cadence.mid|Play}}).]]
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.<ref name="B&S 14">Benward & Saker (2009), p.14.</ref> A [[rest (music)|pause]] in one voice may also be used as a weak interior cadence.<ref name="B&S 14"/>

[[Image:Lassus - Qui vult venire post me, mm 3-5.png|thumb|center|400px|Pause as weak interior cadence from Lassus's ''[[Qui vult venire post me]]'', mm. 3–5 {{audio|Lassus - Qui vult venire post me, mm 3-5.mid|Play}}.]]

In counterpoint an evaded cadence is one where one of the voices in a [[suspension (music)|suspension]] does not resolve as expected, and the voices together resolved to a consonance other than an octave or unison<ref>Schubert, Peter (1999). ''Modal Counterpoint, Renaissance Style'', p.132. ISBN 0-19-510912-0.</ref> (a perfect fifth, a sixth, or a third).

==Classical cadential trill==
In the [[Classical music era|Classical period]], composers often drew out the authentic cadences at the ends of sections; the cadence's dominant chord might take up a measure or two, especially if it contained the resolution of a [[Nonchord_tone#Suspension|suspension]] remaining from the chord preceding the dominant. During these two measures, the solo instrument (in a [[concerto]]) often played a [[trill (music)|trill]] on the [[supertonic]] (the fifth of the dominant chord); although supertonic and subtonic trills had been common in the Baroque era, they usually lasted only a half measure (''e.g.'', the subtonic trill in the final cadence from Bach's ''[[Wachet auf, ruft uns die Stimme, BWV 140]]'').{{audio|Bach_-_cantata_140._1._chorus.ogg|Play}} Extended cadential trills were by far most frequent in [[Mozart]]'s music, and although they were also found in early [[Romantic music era|Romantic music]], their use was restricted chiefly to [[piano concerto|piano concerti]] (and to a lesser extent, [[violin concerto|violin concerti]]) because they were most easily played and most effective on the piano and violin; the cadential trill and resolution would be generally followed by an orchestral coda. Because the music generally became louder and more dramatic leading up to it, a cadence was used for climactic effect, and was often embellished by Romantic composers. Later on in the Romantic era, however, other dramatic virtuosic movements were often used to close sections instead.

==Jazz==
[[Image:Backdoor progression in C.png|thumb|"'Backdoor' ii-V" in C: ii-{{music|flat}}VII7-I {{audio|Backdoor progression in C.mid|Play}}]]
[[Image:Ascending diminished seventh chord half-step cadence on C.png|thumb|Ascending [[diminished seventh chord]] half-step cadence on C.<ref name="L&H">Richard Lawn, Jeffrey L. Hellmer (1996). ''Jazz: Theory and Practice'', p.97-98. ISBN 978-0-88284-722-1.</ref> {{audio|Ascending diminished seventh chord half-step cadence on C.mid|Play}}]]
[[Image:Descending diminished seventh chord half-step cadence on C.png|thumb|Descending [[diminished seventh chord]] half-step cadence on C.<ref name="L&H"/> {{audio|Descending diminished seventh chord half-step cadence on C.mid|Play}}]]

In [[jazz]] a cadence is often referred to as a [[turnaround (music)|turnaround]], chord progressions that lead back and resolve to the tonic. These include the [[ii-V-I turnaround]] and its variation the [[backdoor progression]], though all turnarounds may be used at any point and not solely before the tonic.

[[Half-step]] cadences are "common in jazz"<ref>Norman Carey (Spring, 2002). Untitled review: ''Harmonic Experience'' by W. A. Mathieu, p.125. ''Music Theory Spectrum'', Vol. 24, No. 1, pp. 121–134.</ref> if not "cliché."<ref>Mathieu, quoted ibid.</ref> For example, the ascending diminished seventh chord half-step cadence, which—using a [[secondary leading-tone chord|secondary diminished seventh chord]]—creates momentum between two chords a major second apart (with the diminished seventh in between).<ref name="L&H"/> The descending diminished seventh chord half-step cadence is assisted by two [[common tone]]s.<ref name="L&H"/>

==Popular music==
Popular music uses the cadences of the common practice period and jazz, with the same or different voice leading. Popular cadences with borrowed chord progressions include the backdoor progression, {{music|b}}II-I, {{music|b}}III-I, and {{music|b}}VI-I.<ref>Romeo, Sheila (1999). ''Complete Rock Keyboard Method: Mastering Rock Keyboard'', p.43. ISBN 0-88284-982-4.</ref>

==Rhythmic cadence==
[[Image:Rhythmic cadence from Brandenberg Concerto no. 3.png|thumb|right|248px|Rhythmic cadence at the end of the first phrase from [[Bach]]'s ''[[Brandenburg Concerto]] no. 3 in G Major'', BMV 1048, I, m. 1–2. {{audio|Rhythmic cadence from Brandenberg Concerto no. 3.mid|Play}} with pitches or {{audio|Rhythmic cadence from Brandenberg Concerto no. 3 p.mid|Play}} with unpitched percussion.]]

Rhythmic cadences often feature a final note longer than the prevailing note values and this often follows a characteristic rhythmic pattern repeated at the end of the phrase,<ref name="B&S 91"/> both demonstrated in the Bach example pictured.

==See also==
* [[Andalusian cadence]]
* [[Approach chord]]
* [[Cadenza]]
* [[Corelli cadence]]
* [[Drum cadence]]
* [[English cadence]]
* [[Kadans]]
* [[Lament bass]]
* [[List of Caribbean music genres]]: [[Cadence-lypso]] & [[Cadence rampa]]
* [[Picardy third]]
* [[V-IV-I turnaround]]
* [[bVII-V7 cadence|{{music|b}}VII-V7 cadence]]

==References==
{{Reflist}}

{{Cadences}}
{{Chord progressions}}
{{Consonance and dissonance}}
{{Harmony}}
{{Melody}}
{{Tonality}}

{{DEFAULTSORT:Cadence (Music)}}
[[Category:Cadences|*]]

[[ca:Cadència]]
[[cs:Kadence (hudba)]]
[[da:Kadence (musik)]]
[[es:Cadencia]]
[[fr:Cadence (musique)]]
[[nl:Cadens (muziektheorie)]]
[[ja:終止]]
[[no:Kadens]]
[[nn:Kadens]]
[[pl:Kadencja (harmonia)]]
[[pt:Cadência]]
[[ro:Cadență (muzică)]]
[[ru:Каденция (музыка)]]
[[sr:Каденца]]
[[fi:Kadenssi]]
[[sv:Kadens]]
[[uk:Каденція (музика)]]

Integer programming - Revision history

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80.223.98.168: /* Example */