Motivo di cadenza

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With Motivo di cadenza ( Italian , "cadence design" ) is in the music theory a set of model referred to, in which as a result of lowering of the leading tone within a cadence this either sequenced or modulation is used. This method was widespread among composers from the 17th to 19th centuries.

The earliest mention of the term can be found in the Documenti armonici (1687) by Angelo Berardi , who notes it - albeit without further explanation - over a series of musical examples such as the following:


\ version "2.14.2" \ header {tagline = ## f} \ score {<< \ new Staff << << \ set Score.tempoHideNote = ## t \ time 4/4 \ tempo 4 = 150 \ relative c '' {e2 c ~ cbadbc ~ c \ tweak NoteHead.color #red \ tweak Stem.color #red \ tweak Accidental.color #red bes ~ \ tweak NoteHead.color #red \ tweak Stem.color #red \ tweak Accidental. color #red bes agcaf ~ f4 d d'2 ~ dc b1 cis \ bar "||"  } >> \ new Staff << \ relative c '' {c2 a fis g ~ g \ tweak NoteHead.color #red \ tweak Stem.color #red \ tweak Accidental.color #red f ~ \ tweak NoteHead.color #red \ tweak Stem.color #red \ tweak Accidental.color #red fe d1 e2 f ~ f \ tweak NoteHead.color #green \ tweak Stem.color #green \ tweak Accidental.color #green e \ tweak NoteHead.color #green \ tweak Stem.color #green \ tweak Accidental.color #green fa ~ a b4 a gis2 a ~ a \ tweak NoteHead.color #green \ tweak Stem.color #green \ tweak Accidental.color #green gis \ tweak NoteHead.color # green \ tweak Stem.color #green \ tweak Accidental.color #green a1 \ bar "||"  } >> \ new Staff << \ clef "bass" \ relative c '{a1 d, ~ dg ~ gc, ~ cfde ~ ea, \ bar "||"  } >> >> \ new FiguredBass {\ figuremode {s1 |  <7 _ +> 2 <6 4> <5 4> <5 3> <7 3> <6 4> <5 4> <5 _-> <7- 3> <6 4> <5 4> <5 3> s1 s2 <6> 4 <5> <7 _ +> 2 <6 4> <5 4> <5 _ +> <_ +> 1}} >> \ layout {\ context {\ Score \ remove " Bar_number_engraver "} indent = 0} \ midi {}}

The first definitions come from music lexicons of the first half of the 18th century. Both Sébastien de Brossard (ca. 1710) and Johann Gottfried Walther (1732) mention in this context, one in falling fifths or rising fourths progressive bass, over which the normally common leading tone to the small third is reduced and syncopation to Septim derivative action on the next bass note.

These features can also be seen in the example of Berardi. The added figured bass also make it clear that the bass notes in bars 2f., 4f., 6f. and 10f. are each designed as a panultima of a cadenza doppia . A correctly continuing treble clause , however, appears only in bars 8 ( e - f ) and 12 ( gis - a , green). In the other two cases, the leading tone is lowered and syncopated to the prepared seventh above the following bass tone (marked in red).

The sentence model can therefore also be understood as a fifth case sequence with sequenced cadenze doppie . The two upper voices alternate between the role of agent and patient voice. The Motivo di cadenza model can be found in diminished form, for example, in the fugue in E flat major (BWV 876) from the second volume of the Well-Tempered Clavier by Johann Sebastian Bach (T. 46–53):


\ version "2.14.2" \ header {tagline = ## f} upper = \ relative c '' {\ set Score.currentBarNumber = # 46 \ clef treble \ key es \ major \ time 2/2 \ tempo 4 = 120 << {\ partial 2 f2 ~ |  f es8 [d es f] |  d4 g2 f4 |  ec f2 ~ |  f it! ~ |  es d8 [cd es] |  c4 f2 es4 |  d bes es2 ~ |  it des! ~ |  } \\ {s2 |  b4 g c2 ~ |  c bes ~ |  bes as8 [g as bes] |  g4 c2 bes4 |  a4 f bes2 ~ |  bes as! ~ |  as g8 [fg as] |  f4 bes2 as4} >>} lower = \ relative c '{\ override Score.TimeSignature.stencil = ## f \ clef bass \ key es \ major \ time 2/2 \ tempo 4 = 120 {s2 |  g1 ~ |  g8 [fg as] g [fed] |  c1 ~ |  c8 [bes cd] c [bes ag] |  f1 ~ |  f8 [es' fg] f [es dc] |  bes1 ~ |  bes8 [as' bes c] bes [as gf]}} \ paper {indent = 0} \ score {\ new PianoStaff << \ new Staff = "upper" \ upper \ new Staff = "lower" \ lower >> \ layout {\ context {\ Score \ remove "Metronome_mark_engraver"}} \ midi {}}

According to Brossard, the model works particularly well in joints. In this context it rarely appears sequenced, but only recognizable by the lowering of the leading tone. B. serve for back modulation before the second Dux use .

Sources and literature (chronological)

Web links

Individual evidence

  1. ^ Cf. Kaiser, Motivo di Cadenza (subquint modulation)
  2. See Berardi 1687, p. 151.
  3. Cf. Brossard 1710 [?], Pp. 70f .; Walther 1732, p. 425.
  4. See Menke 2011 .
  5. Brossard 1710 [?], P. 71: "Cela fait quelques fois un très-bon effet sur tout dans les Fugues, & c."
  6. See Kaiser 1998, Vol. 2, pp. 298-301; ders .: Motivo di Cadenza (subquint modulation) .