The appended, fading part of a musical unit of meaning is referred to as coda or coda ( Italian for tail ). This can be a phrase part (notation), but in larger form categories a whole thematic episode can also be assigned to the code part, taking up and summarizing character traits of the entire work.
As a part of a phrase, a coda is a (mostly repeated) functional cadence formula (mostly: DT) after reaching the point in time of the end of the phrase, so it is an appendix or "tail".
A very popular example of a coda of this former meaning in pop music is the fadeout in All You Need Is Love by the Beatles (the various quotes from other musical works that are incorporated there, however, do not belong to the essentially diverting material, to the simple repeated cadence formula the coda).
The coda in the main sonata form is of particular importance . As a phrase, it leads out the second topic section (before repeating the exposition part). A similar function is fulfilled in the usual transitional section from the first to the second topic section.
A formal part which is also referred to as a coda (or coda section) in the main sonata movement (which can therefore contain complete phrases) sometimes follows the final point in time of the reprise part , either instead of the reprise part or (usually) as its extension when the development is repeated. Recapitulation section. Ludwig van Beethoven sometimes gave the coda (in this latter sense) a status that was previously only given to the reprise section.
The coda in notation
In musical notation , the coda sign is used when the coda of a piece is to begin before the repetition is completely finished (jump and jump mark). In this case, the coda symbol appears at the point up to which it should be repeated and at the beginning of the coda.
Two final parts: the Codetta
Not every piece of music manages with just one coda. Even in pop music there is a multitude of pieces of music that have a much more complex structure and do not manage with a single final part. Here the coda functions as a part before the actual final part: e.g. B. it branches one last time to the refrain , a complete verse with or without a refrain, or an intermediate verse ( bridge ) and finally jumps to the so-called codetta ( diminutive of coda ), which is notated with two adjacent coda characters.
- dal Segno al Coda
- Alfred Brendel : The coda is delighted. Conversation with Andreas Dorschel. In: Alfred Brendel: After the final chord. Questions and answers. Hanser, Munich 2010, ISBN 978-3-446-23482-6 , pp. 73-78.
- Ludwig Fischer: The coda with Mozart. In: Christoph-Hellmut Mahling (Ed.): Florilegium musicologicum. Hellmut Federhofer on his 75th birthday (= Mainz Studies in Musicology. Volume 21). Schneider, Tutzing 1988, ISBN 3-7952-0554-9 , pp. 79-94.