Plagal cadence |

Plagal cadence (Late Latin plagalis, from Greek plagios – lateral, indirect) – one of the types of cadence (1), characterized by the study of harmonies S and T (IV-I, II65-I, VII43-I, etc.); opposed to authentic. cadence (D – T) as the main, main. type. There are full (S – T) and half (T – S) P. to. In normative P. to. the tone of the resolving tonic is present (or implied) in the harmony S and is not a new sound at the introduction of T; associated with this will express. the character of P. to. is softened, as if of an indirect action (as opposed to the authentic cadence, which is characterized by a direct, open, sharp character). Often P. to. was used after the authentic as an affirmative and at the same time softening addition (“Offertorium” in Mozart’s Requiem).

The term “P. to.” goes back to the names of the Middle Ages. frets (the words plagii, plagioi, plagi are already mentioned in the 8th-9th centuries in the treatises of Alcuin and Aurelian). The transfer of the term from mode to cadence is legitimate only when dividing cadences into more important and less important ones, but not when determining structural correspondences (V – I = authentic, IV – I = plug), because in plagal Middle Ages. frets (for example, in the II tone, with a skeleton: A – d – a) the center was not the lower sound (A), but the finalis (d), in relation to Krom, in most plagal modes there is no upper quarter unsteady (see systematics frets by G. Zarlino, “Le istitutioni harmoniche”, part IV, ch. 10-13).

Like art. the phenomenon of P. to. is fixed at the end of the many-goal. music plays as crystallization itself will conclude. turnover (simultaneously with the authentic cadence). Thus, the motet of the ars antiqua era “Qui d’amours” (from the Montpellier Codex) ends with P. k.:

f — g f — c

In the 14th century P. to. is applied as a conclusion. turnover, which has a certain coloring, expressiveness (G. de Machaux, 4th and 32nd ballads, 4th rondo). From the middle of the 15th century P. to. becomes (along with authentic) one of the two predominant types of harmonics. conclusions. P. to. is not uncommon in the conclusions of polyphonic. compositions of the Renaissance, especially near Palestrina (see, for example, the final cadences Kyrie, Gloria, Credo, Agnus Dei of the Mass of Pope Marcello); hence the other name P. k. – “church cadenza”. Later (especially in the 17th and 18th centuries) P. to. in means. the measure is pushed aside by the authentic and as a final measure it is used much less frequently than in the 16th century. (for example, the end of the vocal section of the aria “Es ist vollbracht” from the 159th cantata by J.S. Bach).

In the 19th century P.’s value to. increases. L. Beethoven used it quite often. V. V. Stasov rightly pointed out that in the works of “the last Beethoven period one cannot fail to notice the important role played by the “plagal cadences””. In these forms, he saw “a great and close relationship with the content that filled his (Beethoven’s) soul.” Stasov drew attention to the constant use of P. to. in the music of the next generation of composers (F. Chopin and others). P. k. acquired great importance from M. I. Glinka, who was especially inventive in finding plagal forms for concluding large sections of operatic works. The tonic is preceded by the VI low stage (the finale of the 1st act of the opera Ruslan and Lyudmila), and the IV stage (Susanin’s aria), and the II stage (the finale of the 2nd act of the opera Ivan Susanin), etc. plagal phrases (choir of the Poles in act 4 of the same opera). Express. the character of P. to. Glinka often follows from the thematic. intonations (the conclusion of the “Persian Choir” in the opera “Ruslan and Lyudmila”) or from the smooth succession of harmonies, united by the unity of movement (the introduction to Ruslan’s aria in the same opera).

In the plagality of Glinka’s harmony, V. O. Berkov saw “the trends and influences of the harmony of Russian folk songs and Western romanticism.” And in the work of later Russian. classics, plagality was usually associated with the intonations of Russian. song, characteristic modal coloring. Among the demonstrative examples are the choir of the villagers and the choir of the boyars “For us, princess, not for the first time” from the opera “Prince Igor” by Borodin; the completion of Varlaam’s song “As it was in the city in Kazan” from the opera “Boris Godunov” by Mussorgsky with a sequence of II low – I steps and an even more daring harmonica. turnover: V low – I step in the choir “Dispersed, cleared up” from the same opera; Sadko’s song “Oh, you dark oak forest” from the opera “Sadko” by Rimsky-Korsakov, chords before the sinking of Kitezh in his own opera “The Legend of the Invisible City of Kitezh”.

Due to the presence of an introductory tone in the chords before the tonic, in the latter case, a peculiar combination of plagality and authenticity arises. This form goes back to the old P. k., consisting of the succession of the terzquartaccord of the XNUMXth degree and the triad of the XNUMXst degree with the movement of the introductory tone into the tonic.

Russian achievements classics in the field of plagality were further developed in the music of their successors – owls. composers. In particular, S. S. Prokofiev significantly updates the chord in plagal conclusions, for example. in Andante caloroso from the 7th sonata for piano.

The sphere of P. to. continues to be enriched and developed in the latest music, which does not lose touch with the classical. harmonic form. functionality.

References: Stasov VV, Lber einige neue Form der heutigen Musik, “NZfM”, 1858, No 1-4; the same in Russian. lang. under the title: On some forms of modern music, Sobr. soch., v. 3, St. Petersburg, 1894; Berkov V. O., Glinka’s Harmony, M.-L., 1948; Trambitsky V.N., Plagality and related connections in Russian song harmony, in: Questions of Musicology, vol. 2, M., 1955. See also lit. under the articles Authentic Cadence, Harmony, Cadence (1).

V. V. Protopopov, Yu. Ya. Kholopov