Motivo di cadenza
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:
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):
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)
- Angelo Berardi: Documenti armonici. Monti, Bologna 1687 ( digitized ).
- Sébastien de Brossard: Dictionaire de Musique. Mortier, Amsterdam [1710?] ( Digitized version ).
- Johann Gottfried Walther: Musical Lexicon. Deer, Leipzig 1732 ( digitized version ).
- Christoph von Blumröder: Motivo / motif / motif. In: Concise dictionary of musical terminology . Vol. 4, ed. by Hans Heinrich Eggebrecht and Albrecht Riethmüller , editor Markus Bandur, Steiner, Stuttgart 1987 ( digitized version ).
- Ulrich Kaiser : ear training. Sentence theory, improvisation, hearing analysis. Bärenreiter, Kassel 1998, vol. 1 ( basic course ) ISBN 3-7618-1159-4 , vol. 2 ( advanced course ) ISBN 3-7618-1160-8 .
- Johannes Menke : The family of the cadenza doppia. In: Journal of the Society for Music Theory (ZGMTH). Vol. 8, No. 3, 2011, ISSN 1862-6742 , pp. 389-405, ( online) .
- Johannes Menke: Counterpoint II: The music of the baroque . Laaber-Verlag, Laaber 2017, ISBN 978-3-89007-826-7 .
Web links
- Ulrich Kaiser: Motivo di cadenza (subquint modulation), tutorial on musikanalyse.net
Individual evidence
- ^ Cf. Kaiser, Motivo di Cadenza (subquint modulation)
- ↑ See Berardi 1687, p. 151.
- ↑ Cf. Brossard 1710 [?], Pp. 70f .; Walther 1732, p. 425.
- ↑ See Menke 2011 .
- ↑ Brossard 1710 [?], P. 71: "Cela fait quelques fois un très-bon effet sur tout dans les Fugues, & c."
- ↑ See Kaiser 1998, Vol. 2, pp. 298-301; ders .: Motivo di Cadenza (subquint modulation) .