Full cadence |

Full cadence, full cadence – cadence succession of harmonies D – T or S – T (see Cadence). In the classic Items to. D and S are presented to osn. types of chords on the V and IV Art. fret, and T is located in a heavy measure, prem. on his heavy lot. The term “P. to.” indicates the completeness of resolution, the depth of removal of harmonics. tension, and not on the completeness of its composition, i.e., the use of all tonal functions in it. Therefore, P. to. can be formed as harmonies, covering all three main. functions (SDT, the most common type of P. to.), and incompletely representing them. For example, in the final Fugue Cadenzas by J. S. Bach in C-dur from the 1st volume of the Well-Tempered Clavier (bars 23-24) composition P. to. IVI; at the end of Kyrie II of “Mass of Pope Marcello” of Palestrina I-IV (II65)-I. A sample of P. to., represented by chords of three fundamentals. functions:

J. S. Bach. Prelude in F major from the 2nd volume of The Well-Tempered Clavier.

harmonic P. to. historically preceded one-headed. melodic conclusions, called punctum (Latin punctum; also finalis, terminus), will conclude. (full) cadence in Psalm. forms of Gregorian chant, responding to the median cadence (see Half cadence):

In some woks. In the forms of the Middle Ages and the Renaissance, P. to. (concludes the cadence) appears under the name clausula or clausuni (French clos), responding to the median (see the 1st example on column 368). The term clausuni is found in J. de Groheo (c. 1300), E. de Murino (c. 1400).

In modern music in connection with the change of harmonics. systems in P. to. Harmonies of any of the 12 steps can participate, incl. and those that do not belong either to diatonic or to the mixed major-minor system:

S. S. Prokofiev. “Fleeting”, No 10.

(In P. k. from the cited play by S. S. Prokofiev, tonic is preceded by tritone harmony – the IV high level, belonging to the chromatic system.)

P. to. can also consist of a dissonant (complex) tonic (for example, in the late works of A. N. Scriabin, in S. S. Prokofiev, I. F. Stravinsky, A. Berg, Messiaen, etc.). The structural function of P. to. can be preserved in harmony. systems far from major and minor (R. S. Ledenev, Piece for strings, quartet and harp, op. 16 No 6, bars 13-15; R. K. Shchedrin, 2nd piano concerto, end of the finale).

References: see under the article Cadence.

Y. Kholopov