Cadences in the 16th and 17th centuries

Summary

This video script from early music sources.com, presented by Elam Rotem, offers an insightful exploration into the fundamentals of cadences in Renaissance music of the 16th and 17th centuries. It explains how cadences serve as the building blocks of music, essential for composers, basso continuo players, and all musicians aiming to deeply understand music. The script delves into the concept of 'Tenorizans,' a central component of cadences, and distinguishes it from the 'Tenor' voice part. It outlines the hierarchy of Renaissance music parts and describes the progression of cadences, focusing on the 'hard' (durum) and 'soft' (molle or 'mi') cadences. The video also introduces the 'authentic' and 'plagal' cadences, illustrating their structures and the significance of the 'Picardy' third in major harmony. The script further discusses the importance of recognizing the real cadence in a piece, as opposed to the coda, and emphasizes the role of cadences in shaping musical flow and structure. Through analysis of Palestrina's motet 'Osculetur me,' the script demonstrates the practical application of cadences, highlighting how composers use them to create musical balance and forward momentum.

Takeaways

• 🎼 **Cadences as Building Blocks**: Cadences are fundamental in music, serving as the basic building blocks that aid in music analysis and understanding.
• 📚 **Understanding Cadences**: A deeper comprehension of cadences is crucial for all musicians, not just composers or basso continuo players.
• 🔍 **Polyphony and Tenorizans**: Polyphony originates from adding new parts to a melody, with the Tenorizans being a central component of the cadence, distinct from the 'Tenor' part.
• 🎶 **Part Names in Renaissance Music**: The order of importance in Renaissance music parts is Tenor, Canto/Soprano, Basso, Alto, followed by additional parts like Quinto and Sesto.
• 📉 **Cadential Progression Steps**: The last step in a cadential progression is the 'Ultima', preceded by the 'Penultima' and 'Antepenultima'.
• ⚖️ **Types of Cadences**: Cadences are categorized by the Tenorizans step as either a 'hard' (whole tone) or 'soft'/'molle' (semitone) cadence.
• 🔄 **Voice Functions in Cadences**: The 'Cantizans' and 'Bassizans' are functions that can be performed by any voice, contributing to the formation of different types of cadences.
• 🔔 **Authentic Cadence**: An 'authentic cadence' is characterized by a perfect consonance (fifth and octave) between all components on the 'ultima' step.
• 🔄 **Plagal Cadence**: The 'plagal cadence' is a soft cadence that ends with a progression from the fourth to the first degree, often prolonged at the end of pieces to create a coda.
• 🏛️ **Terminology and Cadences**: Historical terminology surrounding cadences can be inconsistent and confusing, thus a simplified terminology is introduced for better understanding.
• 📊 **Cadence Strength and Placement**: The strength of a cadence is determined by the bass progression and the handling of the 'penultima' step, with stronger cadences at central points and weaker ones in the musical flow.

Q & A

What are cadences and why are they important in music?

Cadences are the clearest and most basic building blocks of music. They are important because knowing how they function can help in analyzing and understanding music better. This understanding is necessary for not only composers or basso continuo players but every musician.

What is the origin of the term 'Tenorizans'?

The term 'Tenorizans' is derived from the Latin term and is used to describe the most central and fundamental component of the cadence. It refers to a function that could be taken by any part, not specifically the tenor voice.

How are the parts in Renaissance music ordered by importance?

In Renaissance music, the parts are ordered by importance as follows: Tenor, Canto or Soprano, Basso, Alto, and then parts according to the number such as Quinto (a fifth voice), Sesto (a sixth voice), etc.

What are the steps in a cadential progression called?

The steps in a cadential progression are referred to as 'Antepenultima', 'Penultima', and 'Ultima', which represent the step before the last, the second to last, and the last step, respectively.

What is the difference between a hard (durum) and a soft (molle) cadence?

A hard (durum) cadence is characterized by the Tenorizans taking a whole tone step, while a soft (molle) cadence, also known as a 'mi' cadence, involves the Tenorizans taking a semitone step.

How does the Bassizans function in an authentic cadence?

In an authentic cadence, the Bassizans is characterized by leaping in an interval of a 4th or a 5th. It starts a 5th below the penultima of the Tenorizans and then leaps to the tonic.

What is meant by the 'Picardy' third in the context of cadences?

The 'Picardy' third refers to the phenomenon where every cadence, whether in a major or minor mode, has to have a major harmony on its ultima step. This is a modern term for an older concept.

What is a 'plagal cadence' and how is it related to soft or mi cadences?

A plagal cadence is another kind of cadence that is understood by examining soft or mi cadences. It is characterized by the Tenorizans progressing by a semitone, leading to the 'ultima' finishing on 'mi' in solmization, and involves a specific Bassizans progression that ends with perfect consonances between all components on the 'ultima' step.

How does the concept of 'cadenza fuggita' or evaded cadence differ from a complete cadence?

A 'cadenza fuggita' or evaded cadence occurs when the voices on the 'ultima' step go to different places than their designated places, creating an incomplete cadence. This contrasts with a complete cadence where all components go to their designated places as per the original theoretical plan.

What is the significance of observing the 'penultima' step in a cadence?

The 'penultima' step is significant because it is where the parts often feature movement and can include dissonances that must be prepared for, according to the rules of counterpoint. The division of the 'penultima' step into one, two, or four steps creates different types of cadences, influencing the overall structure and flow of the music.

How does Palestrina's motet 'Osculetur me' demonstrate the use of cadences?

Palestrina's motet 'Osculetur me' demonstrates the use of cadences through various types including evaded, two-step, and four-step authentic cadences, plagal cadences, and soft tenor cadences. The motet illustrates how composers manipulate cadences to control the flow of music, ensuring it moves forward smoothly and stops only at important moments.

What is the role of terminology in understanding Renaissance cadences?

Terminology is essential for distinguishing between different kinds of cadences. While historical terminology from the 16th and 17th centuries can be inconsistent and confusing, a standardized terminology helps in analyzing and understanding the structure and function of cadences in Renaissance music.