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<div style="font-family: Times, sans-serif; "><span class="Apple-style-span" style="font-size: 16px;">Dear Caleb,</span></div>
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<div style="font-family: Times, sans-serif; "><span class="Apple-style-span" style="font-size: 16px;">Thank you—terrific reference. You beat the earliest reference I know of by 4 years.</span></div>
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<div style="font-size: 14px; font-family: Times, sans-serif; "><span class="Apple-style-span" style="font-family: Garamond; font-size: 16px; ">CHoWMuT, pp. 448-49 mentions </span><span class="Apple-style-span" style="font-family: Garamond; font-size: 16px; ">the <i>cadence
attendente</i> in La Voye Mignot (1656). My thanks to Steve Grazzini for finding the original; the treatise is available through IMSLP; see the bottom of p. 76 (in the original numbering). Steve adds that, "</span><span class="Apple-style-span" style="font-family: Garamond; font-size: 16px; ">He
defines it as the situation where, instead of completing a <i>cadence parfaite</i> -- which was the cadence to the unison or octave, usually with a bass that falls by fifth or rises by fourth -- one "remains on the penultimate note." </span><span class="Apple-style-span" style="font-size: 16px; font-family: Times; ">This
is quite similar to the Matthaei Caleb cites. While cognizant of terminological problems, I would assert that "stopping on the penultimate: is functionally the same as a half–cadence.</span></div>
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<div style="font-family: Times, sans-serif; "><span class="Apple-style-span" style="font-size: 16px;">Thanks again,</span></div>
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Frank<br>
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<div style="font-family: 'Adobe Garamond Pro'; ">Frank Samarotto</div>
<span class="Apple-style-span" style="font-family: 'Adobe Garamond Pro'; ">Associate Professor of Music Theory</span><span class="Apple-style-span" style="font-family: 'Adobe Garamond Pro'; "><br>
</span><span class="Apple-style-span" style="font-family: 'Adobe Garamond Pro'; ">Jacobs School of Music</span><span class="Apple-style-span" style="font-family: 'Adobe Garamond Pro'; "><br>
</span><span class="Apple-style-span" style="font-family: 'Adobe Garamond Pro'; ">Indiana University Bloomington</span><span class="Apple-style-span" style="font-family: 'Adobe Garamond Pro'; "><br>
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<div>On 12/4/12 12:23 PM, "Caleb Mutch" <<a href="mailto:cmm2209@columbia.edu">cmm2209@columbia.edu</a>> wrote:</div>
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<div class="moz-cite-prefix">Dear Frank, David, and Collective Wisdom,<br>
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Thanks, David, for the reference to Keller's treatise. It's quite a bit earlier than I would have guessed! May I broaden the inquiry and ask about the earliest use of the cognate term "Halbschluss/halbe Cadenz"? The oldest treatise I've found to use that
term is Kirnberger's <i>Kunst</i> (1776), vol. 1, p. 96, but it seems to me that there's likely an earlier usage than that.<br>
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On a side note, the concept of a cadence that stops on the penultimate chord goes back quite a ways. Conrad Matthaei describes two kinds of "imperfect cadences" (<i>clausulae imperfectae</i>), the first of which "in der penultima stehen bleiben," and goes
on to three examples of C major triads progressing to G major triads (<i>Kurtzer doch ausfuehrlicher Bericht von den M</i><i>odis musicis</i> [1652], p. 8).<br>
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I, too, look forward to hearing other people's input on this!<br>
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Regards,<br>
Caleb Mutch<br>
Ph.D. student<br>
Columbia University<br>
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