Parallel cadence

Parallel cadence describes a musical final formula that emerged in the history of Western composition in the 13th century, flourished with composers such as Guillaume de Machaut , Francesco Landini and Guillaume Dufay and was out of use around 1500. It is characterized by the fact that the framework of tenor and treble clause is counterpointed by a contratenor , which runs parallel to the treble as a middle part :

$\ new ChoirStaff << \ new Staff << \ set Score.tempoHideNote = ## t \ tempo 2 = 92 \ time 2/1 \ override Staff.TimeSignature.transparent = ## t \ relative c '' {\ set suggestAccidentals = ## t s2 g1 fis2 g \ breve \ bar "||"} >> \ new Staff << \ override Staff.TimeSignature.transparent = ## t \ relative c '{\ set suggestAccidentals = ## t s2 d1 cis2 d \ breve} >> \ new Staff << \ override Staff.TimeSignature.transparent = ## t \ relative c '{s2 b a1 g \ breve} >> >>$

In the case of a full-tone tenor clause, it was customary for a long time to raise not only the panultima of the treble clause, but also the penultimate note of this contratenor ( musica ficta ). That is why such final formulas are also called double-tonic cadence .

literature

Heinrich Besseler : Bourdon and Fauxbourdon: Studies on the origin of Dutch music . 2nd revised edition. After revisions left by the author, ed. and supplemented by Peter Gülke , VEB Breitkopf and Härtel, Leipzig 1974.

Individual evidence

↑ Besseler 1974, pp. 34-35.

[1] Besseler 1974, pp. 34-35.