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Martini, <EM>Esemplare, o sia saggio fondamentale pratico di contrappunto sopra il canto fermo</EM> (Bologna, 1774-75) vol. 1, 18-19: "la Cadenza <EM>Plagale</EM>" passes [in the bass] by fourth to the fundamental, whereas "la Cadenza <EM>Ordinaria</EM>" passes by fifth. Both kinds of cadence are employed in both authentic and plagal modes by the "Maestri dell Arte," and he lists pieces by Porta and Palestrina as examples. Further references at pp. 42, 53-54, and in the subject index (!) under "Cadenza Plagale" and "Cadenze Regolari" 243-44. <BR>
<BR>Richard Porterfield<BR>
Mannes, CUNY GC<BR>
<A href="mailto:porterf@hotmail.com">porterf@hotmail.com</A> <BR>
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From: porterfr@hotmail.com<BR>To: smt-talk@societymusictheory.org<BR>Date: Thu, 23 Apr 2009 03:38:59 +0000<BR>Subject: Re: [Smt-talk] Plagal cadence<BR><BR>
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<BR>Padre Martini discusses the plagal cadence in his <EM>Esemplare, o sia saggio fondamentale pratico di contrappunto sopra il canto fermo</EM> (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). <BR><br /><hr />Windows Live™ Hotmail®:…more than just e-mail. <a href='http://windowslive.com/online/hotmail?ocid=TXT_TAGLM_WL_HM_more_042009' target='_new'>Check it out.</a></body>
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