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A plagal cadence or plagal circuit (from medieval Latin plagalis, plaga, pest , "lateral derived" as distinct from authentic ) is in harmony the chord connection subdominant - tonic , as whole circuit is used.

A piece of music built in the major-minor tonality usually ends on the tonic (the chord built on the root note ). If the preceding chord is a fourth level in the sense of the level theory or a subdominant in the sense of the function theory , this is called a Plagal conclusion. In other words: A plagalous ending is when the final chord is not reached by a fifth case, but by a fifth or fourth case.

If, on the other hand, the preceding chord is the dominant , it is an authentic ending . The authentic conclusion is - as the name suggests - the more common and more common variant of the conclusion compared to the Plagal conclusion. In contrast, the Plagallosing is felt to be less charged with tension, as the leading note of the basic key does not appear in the subdominant chord.

Because of its frequent use in sacred music , especially for the acclamation " Amen ", the plagal cadence in musical vernacular is also called Church conclusion referred. (The subdominant is occasionally reinforced by the double subdominant .)

Full cadence in all three positions Audio file / audio sample Listen ? / i

It is often added as a “solemn” addition after the actual end of a piece. In the case of compositions in minor keys, such an appended Plagalic ending often leads to the major. The minor -Subdominante in plagal cadence acts "dominant genetic" through the small third , which in the resolution by a semitone to the fifth fall of the tonic.

It is also possible to have a Plagalus ending above an organ point: the root note remains in the bass, while the subdominant is reached in the form of an sixth fourth chord. Due to its relatively weak closing effect, this variant is mainly used for inland connections within a plant.

The plagal conclusion is found mainly in baroque music and is also found occasionally in the 19th century, e.g. B. with Robert Schumann and Johannes Brahms .

See also

Individual evidence

  1. cf. Richter, Textbook of Harmony, p. 184
  2. a b cf. Acta Musicalia - Plagalschluss  ( page no longer available , search in web archivesInfo: The link was automatically marked as defective. Please check the link according to the instructions and then remove this notice.@1@ 2Template: Dead Link /  
  3. cf. Theory of harmony - examples of plagalism