[Smt-talk] Plagal cadence
Donna Doyle
donnadoyle at att.net
Thu Apr 23 05:41:04 PDT 2009
Catel, in his 1802 Traite (the first harmony text for the Paris
Conservatory), refers to the 'plagal' cadence (p. 34).
Masson, in 1699, demonstrates it (p. 99); and Rameau discusses it in
several places as one of his 'irregular'
or 'imperfect' cadences.
Donna Doyle
Aaron Copland School of Music
Queens College
65-30 Kissena Blvd.
Flushing, NY 11367
tele: 718-997-3819
fax: 718-997-3849
email: donna.doyle at qc.cuny.edu
email: donnadoyle at att.net
_______________
On Apr 22, 2009, at 11:38 PM, Richard Porterfield wrote:
>
> Padre Martini discusses the plagal cadence in his Esemplare, o sia
> saggio fondamentale pratico di contrappunto sopra il canto fermo
> (Bologna, 1774-75). His use of the term (in Italian) is the earliest
> I've seen. I believe he says something to the effect that this
> cadence is not restricted to plagal modes, but that he hints at a
> connection. Sorry I can't give you a page or volume number (two
> volumes).
> In 16th-century music the supplementum Peter Schubert mentions is
> indeed very common as a coda prolonging the melodic final after the
> structural authentic cadence. The authentic cadence is not possible,
> however, in the deuterus modes 3 and 4 (so-called "Phrygian"). The
> simplest solution is for the tenor's semitonal descent F-E to be
> matched by the bass D-E, a linear-contrapuntal progression from
> minor 3rd to unison, or sometimes d-e in the tenor, F-E in the bass:
> major 6th to octave.
> Often, however, the bass does not move directly to the final E, but
> to A (or a) a perfect fifth under the tenor E (or e), before leaping
> by descending 4th to the final -- what Martini later calls the
> plagal cadence.
> Zarlino says that m3-unison and M6-octave actions are true cadences;
> he also mentions motions resolving to the perfect 5th instead of the
> octave (which of course is what I've just described): he classes
> them among the "imperfect cadences," which he says are not actually
> cadences, strictly speaking ("Et benche ve ne siano alcune altre,
> che finiscono per la Quinta, et alcune altre per la Terza, et alcune
> per diuerse altre consonanze; non sono però da esser dette
> assolutamente Cadenze, se non ad vn certo modo, et con vna
> aggiuntione, cioè Cadenze imperfette" Le istitutioni harmoniche,
> Part 3: 221 http://www.chmtl.indiana.edu/smi/cinquecento/ZAR58IH3_TEXT.html)
> . I believe he does not address the plagal cadence directly.
> In answer to Cristobal's second question, it's clear that
> Renaissance composers felt that the plagal cadence on its own was
> "conclusive enough to end a work," in modes 3 and 4, at least. It
> would be interesting to look at Zarlino's Mode-3 and -4 compositions
> (he lists several in Part 4, Chs. 20-21) to see how he reconciles
> his theory with practice.
>
> Richard Porterfield
> Instructor, Mannes College; Ph.D. Candidate in Music Theory, CUNY GC
> porterfr at hotmail.com
>
>
> Date: Wed, 22 Apr 2009 16:30:27 -0400
> From: peter.schubert at mcgill.ca
> To: garciagallardo at terra.es; smt-talk at societymusictheory.org
> Subject: Re: [Smt-talk] Plagal cadence
>
> In a most repertoire the final is in fact approached by the usual
> 6-8 motions you describe, but the final is often sustained in one
> voice. This is the coda-like thing that Burmeister calls the
> supplementum – he says these motions “make it very clear that the
> ending has arrived” (Rivera’s translation, p. 151 ). The so-called
> plagal cadence generally results from the oblique motions that occur
> while the final is being sustained. Sometimes the final is only
> virtually sustained, with all voices moving, but the effect is the
> same.
>
> What I’d like to know is where this term occurs for the first time.
> I don’t recall seeing it in any treatise in the sixteenth century or
> even the early 17th. My bet is French treatises from the late 17th-
> early 18th cc.
>
> Peter Schubert, Chair
> Department of Music Research
> Schulich School of Music
> McGill University
> From: smt-talk-bounces at societymusictheory.org [mailto:smt-talk-bounces at societymusictheory.org
> ] On Behalf Of Cristóbal García
> Sent: Saturday, April 18, 2009 2:34 PM
> To: smt-talk at societymusictheory.org
> Subject: [Smt-talk] Plagal cadence
>
> Dear List,
>
> I would like to ask about plagal cadence in 16th (and 15th) century
> music. What is interesting to me is the fact that this cadence seems
> to escape the basic cadential process of this kind of music: the
> progress from an imperfect to a perfect consonance (usually major
> 6th to octave) in a two-voice framework (usually proceeding stepwise
> by contrary motion), typically preceded by a dissonance (the 7th as
> a suspension).
>
> I have two main questions:
>
> Does somebody know about theoretical explanations of the plagal
> cadence in 16th century music?
>
> Was plagal cadence seen as conclusive enough by itself to end a work
> (since it is usually preceded by a more usual cadence)?
>
> (I must say that I’m not an expert on 16th century music theory –
> though I´ve read on the subject-, so forgive me if these are too
> simple questions)
>
> Thanks,
>
> Cristobal Garcia-Gallardo
> Conservatorio de Malaga (Spain)
> garciagallardo at terra.es
>
>
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