Complete Cadence: A Comprehensive Guide to the 4 Types in Music Theory

What are the four main types of cadences in music. How do authentic, half, plagal, and deceptive cadences differ in their harmonic progressions. Why are cadences important in musical composition and analysis.

Understanding Cadences: The Musical Punctuation Marks

Cadences serve as the musical equivalent of punctuation marks, providing structure and resolution to musical phrases. These harmonic progressions play a crucial role in shaping the listener’s perception of musical phrases and overall composition. By understanding the different types of cadences, musicians and music enthusiasts can gain deeper insights into the emotional impact and structural organization of musical works.

What is a Cadence in Music?

A cadence is a harmonic progression that marks the end of a musical phrase, section, or piece. It creates a sense of resolution or tension, depending on the type of cadence used. Cadences are essential elements in tonal music, helping to establish key centers and guide the listener’s expectations.

The Four Main Types of Cadences Explained

There are four primary types of cadences in Western music theory, each with its unique characteristics and emotional effects:

1. Authentic Cadence
2. Half Cadence
3. Plagal Cadence
4. Deceptive Cadence

Let’s explore each of these cadences in detail to understand their structure and function in musical compositions.

Authentic Cadence: The Strong Resolution

The authentic cadence, also known as the perfect cadence or final cadence, is the most common and conclusive type of cadence. It consists of a progression from the dominant (V) chord to the tonic (I) chord, creating a strong sense of resolution and finality.

How does an authentic cadence work? The dominant chord creates tension, which is then resolved by the tonic chord, providing a satisfying conclusion to a musical phrase or piece. This cadence is often used at the end of compositions to establish a sense of completion.

Half Cadence: The Musical Comma

A half cadence, also called an imperfect cadence, ends a phrase on the dominant (V) chord. Unlike the authentic cadence, it creates a sense of incompleteness or anticipation, leaving the listener expecting more to come.

Why use a half cadence? Composers employ half cadences to create tension and forward momentum in their music. It’s particularly effective in the middle of a piece or at the end of a section, prompting the listener to anticipate the resolution in the following phrase.

Exploring the Plagal Cadence: The “Amen” Cadence

The plagal cadence, often referred to as the “Amen cadence” due to its frequent use in hymns, consists of a subdominant (IV) chord moving to a tonic (I) chord. While less common than the authentic cadence, it still provides a sense of resolution, albeit with a softer, more gentle character.

Characteristics of the Plagal Cadence

What makes the plagal cadence unique? Unlike the authentic cadence, which relies on the tension created by the dominant chord, the plagal cadence has a more subdued quality. This gives it a distinct emotional flavor, often associated with a sense of peaceful conclusion or spiritual reflection.

Historical Significance of the Plagal Cadence

The plagal cadence has deep roots in Western classical and sacred music. Its association with the word “Amen” in Christian hymns has contributed to its enduring presence in religious music. However, composers across various genres have also employed this cadence to create a sense of gentle finality or to subvert listener expectations.

The Deceptive Cadence: A Surprising Turn

The deceptive cadence, true to its name, surprises the listener by subverting their harmonic expectations. It typically begins like an authentic cadence with a dominant (V) chord but then resolves to a chord other than the tonic (I), most commonly the submediant (vi) chord.

How Does a Deceptive Cadence Function?

Why do composers use deceptive cadences? These cadences serve several purposes in musical composition:

• Creating harmonic surprise and interest
• Extending musical phrases
• Delaying final resolution
• Facilitating modulations to new keys

By employing deceptive cadences, composers can keep listeners engaged and introduce unexpected emotional shifts in their music.

Comparing Finished and Unfinished Cadences

Cadences can be broadly categorized into two groups based on their sense of resolution: finished and unfinished cadences. Understanding this distinction is crucial for appreciating the role of cadences in musical structure and emotional impact.

Finished Cadences: Authentic and Plagal

Finished cadences, which include authentic and plagal cadences, provide a sense of completion or resolution. They typically end on the tonic chord, giving the listener a feeling of “arrival” or conclusion.

How do finished cadences affect the listener’s perception? These cadences create a sense of stability and closure, often signaling the end of a musical section or the entire piece. They satisfy the listener’s harmonic expectations, providing a satisfying resolution to musical tension.

Unfinished Cadences: Half and Deceptive

Unfinished cadences, such as half and deceptive cadences, create a sense of incompleteness or anticipation. They do not resolve to the tonic chord, leaving the listener expecting further musical development.

What purpose do unfinished cadences serve? These cadences are essential for creating musical momentum, suspense, and continuity. They keep the listener engaged by delaying resolution and maintaining harmonic tension throughout a composition.

The Role of Cadences in Musical Analysis and Composition

Cadences are not merely theoretical concepts; they play a vital role in both musical analysis and composition. Understanding cadences can provide valuable insights into a composer’s intentions and the overall structure of a piece.

Cadences in Musical Analysis

How do cadences aid in musical analysis? By identifying cadences, music theorists and analysts can:

• Determine phrase boundaries and overall form
• Understand the harmonic language of a composer
• Identify key areas and modulations
• Analyze the emotional arc of a composition

Recognizing cadences helps in breaking down complex musical structures and understanding how composers create coherence and contrast within their works.

Cadences in Composition

For composers, cadences are essential tools for shaping musical narratives and controlling the flow of tension and release. How do composers use cadences effectively?

• To delineate formal sections
• To create or subvert listener expectations
• To control the pacing and emotional impact of a piece
• To establish or destabilize tonal centers

By skillfully employing various types of cadences, composers can create nuanced and emotionally engaging musical experiences.

Historical Evolution of Cadences in Western Music

The concept and use of cadences have evolved significantly throughout the history of Western music. Understanding this evolution provides valuable context for appreciating the role of cadences in different musical periods and styles.

Medieval and Renaissance Cadences

How did early music utilize cadences? In medieval and Renaissance polyphony, cadences were primarily melodic formulas rather than harmonic progressions. The Landini cadence, named after the 14th-century composer Francesco Landini, was a common cadential pattern of this era.

These early cadences often featured a stepwise descent in the tenor voice, reflecting the Latin root of the term “cadence” (cadere, meaning “to fall”). As polyphonic writing developed, composers began to explore more complex cadential formulas, laying the groundwork for later harmonic developments.

Baroque and Classical Cadences

With the emergence of tonal harmony in the 17th century, cadences assumed greater structural importance. How did cadences evolve during this period? The concept of cadences as we know them today, based on chord progressions and key relationships, became firmly established.

In Baroque and Classical music, cadences played a crucial role in delineating musical phrases and sections. Composers like Bach, Mozart, and Beethoven used cadences to create clear formal structures and to guide listeners through complex harmonic landscapes.

Romantic and Modern Approaches to Cadences

How did later composers approach cadences? Romantic composers often sought to expand and subvert traditional cadential patterns, using deceptive cadences and other harmonic innovations to create more fluid and emotionally expressive music.

In the 20th and 21st centuries, some composers have continued to use traditional cadences, while others have explored alternative ways of creating musical closure or deliberately avoiding it. The role of cadences in contemporary classical, jazz, and popular music continues to evolve, reflecting changing aesthetics and harmonic practices.

Cadences Beyond Western Classical Music

While our discussion has focused primarily on cadences in Western classical music, it’s important to recognize that the concept of musical closure exists in many musical traditions worldwide. How do other cultures approach the idea of cadence?

Cadences in Non-Western Music

In monophonic traditions like plainsong or certain forms of traditional Asian music, melodic formulas often serve a cadential function. These may involve specific patterns of notes or rhythms that signal the end of a phrase or section.

For example, in some forms of Japanese music, certain rhythmic patterns are recognized as indicators of cadence. In Indonesian gamelan music, the concept of colotomic structure—the systematic use of specific instruments at fixed rhythmic intervals—can signal cadential points as recognized patterns approach their conclusion.

Cadences in Popular and Contemporary Music

How do cadences function in modern popular music? While not always as formally defined as in classical music, cadences still play a crucial role in shaping phrases and sections in popular genres. Common chord progressions like the “four-chord loop” often incorporate cadential elements, and the concept of “turnarounds” in jazz and blues is closely related to cadential functions.

In contemporary classical and experimental music, composers may explore alternative ways of creating or subverting closure, sometimes avoiding traditional cadential formulas altogether. This ongoing exploration of musical punctuation continues to expand our understanding of how music can be structured and experienced.

cadence | music | Britannica

cadence, in music, the ending of a phrase, perceived as a rhythmic or melodic articulation or a harmonic change or all of these; in a larger sense, a cadence may be a demarcation of a half-phrase, of a section of music, or of an entire movement.

The term derives from the Latin cadere (“to fall”) and originally referred to the stepwise descent of the tenor part, associated with formal endings in certain types of late medieval polyphony. A typical cadential formula of this period is the Landini cadence, so called because of its frequent appearance in the music of the 14th-century composer Francesco Landini—although other composers of the time used the cadence as well.

With the emergence of tonal harmony based on chord and key relationships during the 17th century, the cadence assumed greater structural importance, especially in homophonic, or chord-based, music with regular phrases. In such music, the cadence can be regarded as analogous to the rhyme at the end of a line of metric verse. Four principal types of harmonic cadence are identified in common practice: usually these are called authentic, half, plagal, and deceptive cadences.

In an authentic cadence, a chord that incorporates the dominant triad (based on the fifth tone of the scale) is followed by the tonic triad (based on the first tone of the scale), V–I; the tonic harmony comes at the end of the phrase. In the strongest type of authentic cadence, called the perfect cadence, the upper voice proceeds stepwise either upward from the leading tone (seventh degree of the scale) or downward from the second degree to the tonic note, while the lowest voice skips from the dominant note upward a fourth or downward a fifth to the tonic note. Other arrangements of this harmonic formula—for instance, with the leading tone in an inner part (e.g., the alto or tenor voice in four-part harmony)—are considered less perfect because they are perceived by the listener as less final.

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The half cadence ends the phrase on a dominant chord, which in tonal music does not sound final; that is, the phrase ends with unresolved harmonic tension. Thus a half cadence typically implies that another phrase will follow, ending with an authentic cadence.

Cadences typically used in Western music from the 17th through the 21st century.

In the plagal cadence the subdominant (IV) triad leads to the tonic (I). This cadence usually is an extension to an authentic cadence, and its most characteristic and formulaic usage in the West is with the final amen (IV–I) at the end of a hymn in Christian churches.

A deceptive cadence begins with V, like an authentic cadence, except that it does not end on the tonic. Often the triad built on the sixth degree (VI, the submediant) substitutes for the tonic, with which it shares two of its three pitches. A deceptive cadence may be used to extend a phrase, to overlap one phrase with another, or to facilitate a sudden modulation to a remote key.

A cadence may also mark the beginning of a phrase or section, for instance after a dominant pedal point (in which the dominant note is sustained under changing harmonies). When one phrase ends fully in the dominant harmony and the next begins in the tonic, the music has incorporated the cadential structure as an articulative device. Such a technique is a variant of the authentic formula.

In monophonic music (consisting of a single line of melody) such as plainsong, certain melodic formulas imply a cadence. The melodic styles of a culture frequently prescribe the proper final note of a melody and how to approach it. Certain rhythmic patterns may be recognized as indicators of cadence, as in some Japanese music. Colotomic structure, the systematic use of prescribed instruments at fixed rhythmic intervals, may also signal cadence—e.g., in Indonesian gamelan—as the recognized pattern approaches its end.

Types Of Cadence In Music – Cadence Types we have

Types of Cadence

There are four main types of cadence; which are Authentic Cadence, Half Cadence, Deceptive Cadence, and Plagal Cadence. These four (types of cadence) division are based on their harmonic progression.

Two of them sound finished, whilst the other 2 sound unfinished. Both of the finished types of cadence sound finished because they end on chord I. Unfinished types of cadence sound unfinished because they don’t end on chord I.

When you hear an unfinished cadence at the end of a phrase it sounds like the music should not stop there – it sounds like it should continue onto the next section.

The Authentic Cadence

This cadence is also called Final Cadence. It is a progression from dominant to tonic harmony. The chords of this cadence are generally in a root position. An authentic cadence is the most basic form of ”the end,” composed of two chords, the V and I.

ALSO READ > Cadence in Music

An authentic cadence occurs whenever a phrase ends with V or vii° going to I (or i if minor).   So an authentic cadence in C Major starts with a G chord and resolves with a C chord.

A seventh may be added above the root with a progression from the fifth to the first in major keys, or V to I in the minor keys. This cadence is simple, fulfilling, and aesthetically pleasing. This is one of the strongest cadence types that is available under common practice tonality.

The authentic cadence may be perfect or imperfect, (Some theorists call a half cadence an imperfect cadence.) perfect when the tonic chord is arranged with its root in both outer voices, and imperfect when the uppermost voice sounds factor 3 or 5 in the tonic chord.

The authentic cadence when preceded by subdominant harmony is called complete cadence. The effective use of the authentic cadence is at the end of a period.

ALSO READ : A Complete Guide To The Types Of Form In Music

There are two
types of authentic cadences that are used in music:

1. Perfect authentic cadence (PAC)

2. Imperfect authentic cadence (IAC)

Perfect authentic cadence:

In a PAC, the two chords that make up the cadence are both in their root positions, meaning that the note on the bottom of the stack is the root, the note the chord is named after.

The very strongest PAC occurs when the second chord, the I/i chord, has the root of the chord on both the bottom and the top of the stack of notes; this makes for a very high-impact sort of end to a song. 

The average G chord is made of G, B and D. If those notes appear in that order, G will be the lowest note. However, in a perfect authentic cadence, the note in the lowest position of the I chord is repeated in the highest position.

In our C Major composition, that last chord could look like this: CEGC. Altogether, our V-I would be GBD– CEGC. That’s a perfect authentic cadence. Beethoven’s “Ode to Joy” ends with just that type of cadence.

Imperfect authentic cadence:

Every other V–I chord progression is called an imperfect authentic cadence (IAC), and it’s basically anything that isn’t a perfect authentic cadence. A cadence ending in the V–I pattern but with different notes in the root of either chord and/or without the I chord capped by the tonic note (the note the key is named after), makes an imperfect authentic cadence.

For example, the V/v chord could be in some inversion. In the I/i chord shown below, or there’s a melody note moving between the chords. If we have V–I perfect authentic cadence is GBD– CEGC, an imperfect authentic cadence could be DGB– GCE.

Both of these have a G chord followed by a C chord, but the imperfect cadence messes with the expected composition of those chords. The difference between a PAC and an IAC is illustrated in diagram above.

The Plagal Cadence

This also called Church Cadence, Ecclesiastical Cadence, and Amen Cadence. This cadence is a progression of the subdominant chord to the tonic chord. This cadence is very common in hymnals, offered as the “Amen” portion of the ending in a song.

This also brings closure but does not have the finality of the leading note rising to the tonic. It is usually expressed as V-I-V, but it can also be expressed as I-IV-I. The progression is IV to I and often the melody stays on the tonic.  It can be used as a major cadence, a minor cadence, or a combination of both. 

This cadence is effective after the final cadence in ecclesiastical music.

The Half Cadence

This cadence is a progression from tonic or subdominant harmony to dominant harmony. This cadence ends on the fifth and can be proceeded by any other chord. It can start on chord I, II or IV. This causes the musical composition to sound somewhat incomplete, which suspends the piece in the mind of the listener.

Variations of this cadence may raise the chord by a half-step, creation semi-tonal motion within the bass, or offer parallel fourths between the upper voices.

The music clearly sounds like it should continue. Its effective use is at the end of any phrase other than the last phrase of a period.

The Deceptive Cadence

This is also known as Interrupted Cadence, False Cadence and Avoided Cadence. It is a progression from dominant harmony to some chord other than I, usually VI and occasionally IV preferably in first inversion.

ALSO READ: Facts You Need To Know About Musical Notation

This cadence ends on an unexpected chord and the music literally does sound like it has been “interrupted”, creating an irregular resolution to the composition.

It offers a suspended feeling to the listener, often repeating chord progressions in such a way that a conclusion is expected, but never comes.

It could be said that a composer using this cadence will “sidestep” to a different key in order to bring the composition to a conclusion. The most common chord progression you will come across is from chord V to chord VI (V-VI).

The music sounds like it is unfinished; it sounds like it has just paused and should now continue onto a new section. Its effective use is at the end of a phrase other than the last phrase of a period. It is effectively used also to extend the normal length of a period.

ALSO READ: All You Should Know About The Musical Clef

We have described the main four types of cadence we have above, though there are other cadence opportunities that can be used in music theory in addition to the four common types.

An inverted cadence will follow one of the four common types, but invert the last chord of the composition. An upper leading-tone cadence utilizes a trill throughout the key to place an emphasis on the whole tone to draw out an authentic cadence conclusion.

The first step in becoming comfortable with cadences is to start identifying them in music that is very familiar to you. Find the pauses and stops in the music.

Do a harmonic analysis of the last few chords before each stop, and identify what type of cadence it is. Then see if you can begin to recognize the type of cadence just by listening to the music.

At Phamox Music, we go all out for exactness and honesty. For this purpose, if by any means you found any possible glitch, be it factual, editorial or something that we need to update, kindly contact us.

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What Is a Musical Cadence?

What Is a Musical Cadence? How Many Are There?

A musical cadence is a chord progression that ends in a feeling of rest, or repose, or hesitation. It has a feeling of completion in contrast to chords that keep moving.

It’s hard to describe in words, but you would recognize it immediately when you hear it. There are at least half-a-dozen different types of cadences, but here we will discuss only the main ones:

1. The Authentic or Perfect Cadence. It is a sequence of the V chord moving to the I chord. A complete authentic cadence is the IV chord moving to the V chord then moving to the I chord – in other words, the primary chords in sequence. An example would be in the key of C – the F chord moving to the G or G7 chord, then moving to the C chord.

2. The Half Cadence. A chord progression which ends on the V chord in any key. For example, if we have chord progression in the key of C that progresses from the D7 chord to the G chord, which is the II chord to the V chord.

3. The Plagal Cadence. A chord progression which moves from the IV chord to the I chord in any key. Also known as the Amen cadence.

Please watch this short video on these three types of musical cadences:

There are other types of cadences such as the Deceptive Cadence, which is the V chord moving to some other chord than the I chord – in other words, you expect the chord progression to go home to the I chord, but it surprises you by going elsewhere, such as to th vi chord. We will take that up at another time.

Obviously, the more you know about music theory the better off you will be as a musician, so I urge you to take a music theory course somewhere. Here is a good one:

Music Theory & Harmony: Boring? No! It’s An Exciting X-Ray Into How Music Works!

Here is a Wikipedia article about musical cadences: http://en.wikipedia.org/wiki/Cadence_(music)

Cadence – Oxford Reference

Any melodic or harmonic progression which has come to possess a conventional association with the ending of a comp., a section, or a phrase.

The commonest harmonic cadences are: (a) Perfect cadence (or full close). Chord of the dominant followed by that of tonic. (b) Interrupted cadence. Chord of the dominant followed by that of submediant. (c) Imperfect cadence (or half close). Chord of the tonic or some other chord followed by that of dominant. (d) Plagal cadence. Chord of the subdominant followed by that of tonic.To any of the dominant chords above mentioned the 7th may be added. Any of the chords may be taken in inversion, but if that is done in the case of the perfect cadence its effect of finality (i.e. its ‘perfection’) is lost.

(a) Perfect cadence (or full close). Chord of the dominant followed by that of tonic. (b) Interrupted cadence. Chord of the dominant followed by that of submediant. (c) Imperfect cadence (or half close). Chord of the tonic or some other chord followed by that of dominant. (d) Plagal cadence. Chord of the subdominant followed by that of tonic.

The term Phrygian cadence is applied by various writers to (i) in major key a cadence ending on the chord of the dominant of relative minor (e. g. in key C major E–G♯–B), or (ii) any sort of imperfect cadence (half close) in minor mode, or (iii) first inversion of subdominant chord followed by dominant chord (e.g. in key C the chord A–C–F followed by the chord G–B–D). (It seems best to confine the name to the cadence (i) above, which is fairly common in J. S. Bach and for which no other name is available, whereas (ii) and (iii) are simply varieties of the imperfect cadence.)

(i) in major key a cadence ending on the chord of the dominant of relative minor (e.g. in key C major E–G♯–B), or (ii) any sort of imperfect cadence (half close) in minor mode, or (iii) first inversion of subdominant chord followed by dominant chord (e.g. in key C the chord A–C–F followed by the chord G–B–D).

(i) above, which is fairly common in J. S. Bach and for which no other name is available, whereas (ii) and (iii) are simply varieties of the imperfect cadence.)

For the cadence employing the tierce de Picardie see under that term. Other terms are: Abrupt cadence = interrupted cadence (see above). Amen cadence = plagal cadence (see above). Authentic cadence = perfect cadence (full close; see above). Avoided cadence = interrupted cadence (see above). Broken cadence = interrupted cadence (see above). Church cadence = plagal cadence (see above). Complete cadence = perfect cadence (full close; see above). Deceptive cadence = interrupted cadence (see above). Demi‐cadence = imperfect cadence (half close; see above). Dominant cadence = imperfect cadence (half close; see above). Evaded cadence = interrupted cadence (see above). False close = interrupted cadence (see above). Greek cadence = plagal cadence (see above). Half cadence = half close (see imperfect cadence, above). Inverted cadence = perfect or imperfect cadence (full close or half close; see above) with its latter chord inverted. (Some confine the name to the perfect cadence thus changed; others extend it to all cadences having either chord, or both, inverted.) Irregular cadence = interrupted cadence (see above). Mixed cadence. The term is used in 2 ways—both of them superfluous. (1) A ‘mixing’ of the plagal and imperfect cadences, consisting of subdominant‐dominant, this being merely the imperfect cadence in one of its commonest forms. (2) A mixing of the plagal and perfect cadences, consisting of the perfect cadence preceded by the subdominant—making 3 chords, instead of the usual two. This is merely the perfect cadence led up to in one of its commonest manners and should not require any special name. Radical cadence = any cadence of which the chords are in root position, i.e. the roots of the chords in the bass. Semi‐perfect cadence = perfect cadence (see above) with the 3rd or 5th of the tonic in the highest part. Surprise cadence = interrupted cadence (see above). Suspended cadence = a hold‐up before the final cadence of a piece, as that in a conc. (or, in former times, an aria) for the solo performer to work in a cadenza.

[…]

All About Cadences – Mixed In Key

By ML Wolf

Just as the English language has punctuation marks to end thoughts, likewise, music employs cadences to finish
musical phrases. They are found throughout most Western music genres, from classical to pop and jazz. Simply put, a
cadence is a two chord formula that ends a phrase. It is the progression of these chords that brings the phrase to a
close; they give a strong indication of the key that the piece is in.

The term cadence comes from the Latin word cadentia which means “a fall”. Cadences are an easy way for songwriters to
finish their musical sentences and thus complete their lyrical thoughts.

Types of Cadences

There are four types of cadences most commonly used in all music. Two are finished and two are unfinished. We’ll look
at this in more detail shortly.

If we equate music to English grammar the first two cadences are musical periods, and the second two commas or
semicolons. The first is known as the perfect or authentic cadence. This cadence gives a very final sound to the end
of a composition. The second type of cadences are plagal cadences (known also as the amen cadence found at the end
of a hymn). These are final sounding, although tend to be somewhat weaker than a perfect cadence. And third are the
imperfect cadences, which have a less final sound than the perfect cadences. They are used for a partial resolution
so that the piece can still continue onwards towards the finish. Last we have the deceptive cadence which as the
name suggests, deceives us. Let’s look at each of these in more detail.

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Perfect Cadences

As previously stated the perfect cadence sounds very final and therefore is inclined to be used at the close of a
composition. It moves from the dominant chord V to the tonic chord I in the key that the piece is in. It sounds
final because we expect that a song is going to end in the key that we started in, whether it’s in a major or a
minor key. In the major key both of these chords are major chords. In a minor key the V or V7 chord is major (due to
the raised 7th note) and the I chord is minor. Along the way the piece may wander off into another key (usually the
dominant or subdominant key) but we expect it to return to the tonic key, which is what the perfect cadence does.

Listen for the perfect cadence at the end Shawn Mendes’ ‘If I Can’t Have You’.

Plagal Cadences

If you have ever sung “Amen” at the end of a hymn, you have experienced the plagal cadence. Plagal cadences move from
the subdominant IV chord to the tonic I chord in major or minor keys. It still sounds pretty final, although it is
not as strong a finish as a perfect cadence. Both chords are major in a major key while both chords will be minor in
a minor key.

Here is an example of a plagal cadence in the key of C Major. The F chord IV resolves to the C chord I. It’s going to
sound final because it ends on the tonic chord, but because the IV is a weaker chord than V, it doesn’t give quite
the same culminating finish to a piece as a perfect cadence (V-I).

Here’s a video you can hear the sound of a plagal cadence in.

Imperfect Cadences

An imperfect cadence occurs in the middle of a piece, not at the end. It differs from the perfect and plagal cadences
in that it does not end on the I chord. This type of cadence is also known as a half-cadence. The second chord is
always the dominant V chord, although the first chord can be one of many. The most commonly used chords in this
cadence would be the tonic chord I, the supertonic chord ii, or the subdominant chord IV. Ending on the dominant V
chord keeps the key established although it has a strong feeling that the piece has not concluded. It still needs to
resolve back to the tonic.

Here’s an example of an imperfect cadence from the Foo Fighters ‘Learn to Fly’. The last three chords are I IV V,
skip to 4:18 to hear it.

Another example from a classic rock tune is ‘Baba O’Riley’ by the Who. Listen for the imperfect cadence at 2:09

Deceptive Cadence

The deceptive cadence is a cadence which occurs when you have the dominant V chord leading to any other chord except
the tonic I chord. Most commonly it is found as a V to vi. It has a surprise effect as you are not expecting the
resolution of the V chord to end this way. When you listen a song that has the dominant V chord, you anticipate it
to resolve to the tonic, but when that doesn’t happen you’ve been deceived…hence the term deceptive cadence. It’s
not a final cadence and therefore is not used at the end of a piece. Here is an example from one of my personal all
time favorite songs, The Beatles ‘P.S. I Love You.’ This piece includes four examples of deceptive cadences at 0:25,
0:43, 1:15 and 1:47.

To summarize, there are cadences which are finished and cadences which are unfinished.

The finished cadences are used at the end of a piece while the unfinished cadences are typically used at the end of a
phrase in the middle of a piece. The important thing to recognize about cadences is that they are simply resting
points in compositions; a musical punctuation.

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Cadence: Definition, Meter & Examples

Authentic Cadences

Cadences are defined by which pitches in the scale are used to create it. Sing the melody to ‘Row, Row, Row Your Boat’ again. Which of the two phrases makes the song sound finished and complete? The second one, right? Why is this true? The second phrase gives a sense of arrival or conclusion because it ends in an authentic cadence.

Most pieces of music have a special pitch called the tonic. In this song, the tonic is the first note you sang on the word ‘Row.’ All the other pitches used in the song are arranged in such a way so as to make the tonic sound like a musical home. Authentic cadences provide a sense of finality by ending on that musical home.

In our example, can you hear how the pitch sung on the word ‘dream’ at the end of the second phrase is the same pitch as the one sung on ‘row?’ Both are sung on the tonic pitch. Ending a cadence on the tonic pitch gives the same impression as a period at the end of a sentence. It is a musical arrival point that conveys a sense of completeness.

Half Cadences

The first cadence you hear in ‘Row, Row, Row Your Boat’ occurs on the word ‘stream’ at the end of the first phrase. Try singing just this first phrase, stopping after the word ‘stream.’ Can you hear how the pitch on the word ‘stream’ is not the same as the tonic? This first arrival point is a half cadence, a temporary resting place on the musical journey.

Half cadences are like commas at the end of verbal or written phrases. By listening to the musical inflection, you can tell that the song isn’t over yet, just like you can tell that a spoken sentence isn’t over at a comma because of the verbal inflection.

So, if authentic cadences end on the tonic, what kind of note do half cadences end on? There are special names given to the order of notes in a musical scale. The tonic is the first note. The fifth note is called the dominant. The letter name of both the tonic and dominant will change based on the musical scale used.

If the tonic is ‘C’, that means that a ‘C’ scale is being used. In a ‘C’ scale, the dominant is ‘G’ because G is the fifth letter up from C. However, if the musical scale used was ‘A’ instead of ‘C,’ the tonic note would be ‘A,’ and the dominant would be ‘E.’ Half cadences end on the dominant note.

Even if you don’t know a lot about music theory, you can still tell the difference between half cadences and authentic cadences by listening carefully. When speaking, people often make their voices go up slightly when they reach a comma and down slightly when they reach a period. In music, you can tell if a phrase ends in a half cadence or an authentic cadence by listening for the dominant note or the tonic note.

Lesson Summary

Cadences are musical resting points that end musical phrases. The two most basic kinds of cadences are half cadences and authentic cadences. A half cadence ends on the dominant, which is the fifth note of the scale. Half cadences sound incomplete, and are comparable to a comma in a sentence. Authentic cadences end on the tonic note, the first note of a musical scale. This provides a sense of arrival and ‘home.’ Authentic cadences sound like a complete stop and are comparable to a period at the end of a sentence.

90,000 FULL CADENCE is … What is FULL CADENCE?

FULL CADENCE

(perfect cadence), see. Cadence.

Riemann’s Musical Dictionary. – Moscow, Leipzig.
G. Riemann, Yu.D. Engel.
1904.

• POLLICER
• COMPLETE TOOLS

See what “FULL CADENCE” is in other dictionaries:

• Full cadence – full cadence, cadence sequence of D T or S T harmonies (see.Cadence). In the classic. P. to. D and S are presented DOS. types of chords in the V and IV Art. fret, and T is in a heavy beat, preim. on his heavy share. The term P. k. … … Musical encyclopedia

• Cadence – This term has other meanings, see Cadence (disambiguation). Cadence (Italian cadenza, from Latin cadere “to fall”) can be: a category of harmony, the same as cadence (from French cadence), a virtuoso performing solo (the same, … … Wikipedia

• Cadence (music) – This term has other meanings, seeCadence (disambiguation). Cadence (Italian cadenza, from Latin cadere “to fall”) in music: the category of harmony, the same as cadance (from the French cadence), virtuoso performing solo (the same … Wikipedia

• CADENCE – cadance (Italian Cadenza, French Cadence, pronounced cadance, German Kadenz, Schluss, pronounced schluss) – a harmonic turnover that has the character of conclusion, stop, delimitation. Symmetry of rhythmic construction and consistency … … Riemann’s Musical Dictionary

• cadence – cadence, cadence, cadence, cadence, cadence, cadence, cadence, cadence, cadence, cadence, cadence, cadence, cadence (Source: “Full accentuated paradigm according to A.A. Zaliznyak “) … Word forms

• Fret functions – meanings of sounds and consonances in the mode (pitch system). F. l. are a manifestation of the muses. semantic connections, by means of which the consistency and coherence of the muses are achieved. whole. In the tradition of Russian. terminology, the mode is usually interpreted as … … Encyclopedia of Music

• Musical form – (Greek morpn, Latin forma look, image, shape, appearance, beauty; German.Form, French forme, ital. forma, eng. form, shape). Contents I. The meaning of the term. Etymology 875 II. Form and content. General principles … … Encyclopedia of Music

• Concert (work) – (German Konzert, from Italian concerto concert, literal competition (voices), from Latin concerto I compete). A piece for many performers, in which a smaller part of the participating instruments or voices oppose most of them or all of them … … Encyclopedia of Music

• Final cadenzas – or final ones that produce the most satisfying feeling of reinforcement in a particular system, eg.widespread, complete and incomplete cadences (see. Cadence) … Encyclopedic Dictionary of F.A. Brockhaus and I.A. Efron

• Turangalila Symphony – (fr. Turangalîla Symphonie) one of the most popular works of the French composer Olivier Messiaen. It is a symphony with piano solo parts and Martenot waves. The work has a program related to Indian … … Wikipedia

Solfeggio. Music theory.Analysis. Harmony (Reshebniks)

Period | Student Service

The smallest relatively complete construction associated with the exposure of musical thought is called the period.The period can be likened to a sentence in verbal speech:

Tempo di Menuetto J. Haydn. Sonata in D major, ch. III

The period, divided into two sentences similar at the beginning (as in the above example), is called the re-structure period . This is the most characteristic type of the classical period.

The melodic-harmonic turns that complete the construction of the period are called cadences, which can be stable or unstable.

The cadence that ends the period is called the final , the ending sentence is the middle . According to their harmonic content, cadences can be full and half .

They differ in the final chord: the full cadence is completed by the tonic, the half – not by the tonic (more often – D, less often – S). In turn, the full cadence, according to the degree of completion, can be perfect and imperfect. Perfect cadence is characterized by the following features:

1) the tonic is on the strong beat;

2) tonic in the form of a triad (sometimes incomplete), but not inversion;

3) in the upper voice – the main tone of the tonic triad;

4), the quarter-fifth course of the bass leads to the tonic triad.

If one of these signs is missing, the cadence is imperfect. In the above example (265), the middle cadence is half dominant, and the final cadence is full perfect.

Periods are generally characterized by a less stable ending of the first sentence compared to the end of the period, that is, an unstable (or insufficiently stable) middle cadence and a more stable final one.

Sometimes, for example, the first sentence ends with a full but imperfect cadence.In this case, it turns out to be less stable than the final one – complete perfect.

A period that is not divisible into sentences or divisible into sentences that are not similar at the beginning of a sentence is called a period but repeated structure :

Moderate. Tempo di Valse R . Tchaikovsky . Serenade for String Orchestra, h. II

A special case of the period of non-repetitive structure is a period indivisible into sentences, called the period of common development .

The above examples differ not only in that the first of Them is divided into two sentences that are similar at the beginning, and the second is not divided into such sentences.

Another difference between them lies in the palatonal side: the example from Haydn ends in the same key as it begins; an example from Tchaikovsky, starting in G-dur, ends in D-dur.

According to their frequency content, the periods are subdivided into non-modulating and modulating .Within the non-modulating periods, other tonalities can also occur in the form of the so-called deviations , but they always end in the original tone.

In the same examples of periods, there is one more difference: the first is divided into two four-bar sentences, the second can be divided into five structures of 4 bars each *

[A start is never considered a single measure, since the beat it adjoins is in the next measure.]

Periods divisible by 2 four bars, 2 eight bars, 2 sixteen bars (and sometimes 2 thirty two bars) are called periods of a square structure. The number of measures in sentences and in the whole period in such cases is a power of 2 (2 ² = 4, 23 = 8, 2 ⁴ = 16, etc.).

Periods that consist of a different number of ticks are called periods of a non-square structure.

The non-square period shown in example 266 begins with a four-stroke construction, followed by another four-stroke (that is, it is divided at first as it happens in square construction).

However, in further development, a sixteen-stroke construction is not formed due to the so-called expansion.

Expansion refers to the increase in the scale of the period that occurs within the construction, that is, to the final cadence, which in this example falls on 18-20 measures. To understand the role of expansion, it is enough to imagine this period without it in the form, for example, of the following construction:

In addition to expansion, an increase in the overall scale of the period can occur with the addition of . Unlike the expansion, the addition follows a full perfect cadence (see, for example, bars 15-22 of the first theme of the slow movement of Beethoven’s symphony No. 5).

Dictionary of musical terms, terms of sound engineering, sound recording and acoustics

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Cabaret – Impromptu performances in literary and art cafes with the participation of poets, musicians and actors.

Cover version – see article.

Cadence – cm. Cadence.

Cadence – the conclusion of a musical thought.

Full perfect cadence – the end of the construction on the tonic prima in the melody.

Cadence, complete imperfect – the end of the construction on the tonic third or fifth in the melody.

Half cadence – a stop in the middle of the formation on an unstable sound of the fret, most often on one of the sounds of the dominant triad.

Cacophony – combinations of sounds that give the impression of a disorderly, chaotic heap of sounds.

Chamber music – music performed by a small group of performers. When performing a chamber piece, each part is performed, as a rule, by only one performer, in contrast to orchestral music, where there are groups of instruments playing the same part in unison.

Tuning fork is a small portable device that accurately and clearly produces a sound of a certain pitch with weak harmonic sounds.In performing practice, it is used to tune musical instruments.

Groove – mechanical recording track in the form of a depression in a medium (usually on a gramophone record).

Canon is a type of polyphonic music in which all voices perform the same melody, but they enter not simultaneously, but one after the other.

Cantata – a piece of music for choir, soloists, orchestra, performed in concerts.Consists of choral numbers, arias, ensembles.

Cantilena – melodic flowing melody.

Capriccio is a free-form piece of music.

Cassette – in magnetic sound recording systems is a flat, closed box that contains a magnetic tape for recording images and sound (or just sound).

Castanets – percussion musical instrument.Wooden, less often plastic, shell-shaped plates, fixed on the fingers. Distributed in Spain, Italy and Latin America. Distinguish between folk and orchestral castanets.

Casting – the choice among a number of applicants for the person who best suits the creative idea. In music, it is practiced to select musicians for a music group or project.

Coil – a device designed for winding magnetic tape.

The qualitative value of the intervals – the number of tones or semitones contained in the interval.

Quarta – an interval containing four steps. A quart is called pure if it consists of two and a half tones. A pure quart is denoted as “ch. 4″.

Square – metric and harmonic structure of one completed jazz theme conduction. Based on this structure, the musician builds an improvisation that can last one or several squares.

Quantization – The process of replacing the real values ​​of the signal amplitude with approximate ones with a certain accuracy.

Quartdecima – an interval containing fourteen steps. It is designated as “14”.

Quartet – 1. Ensemble of four performers. 2. A piece of music for such an ensemble.

Quartsext chord – second inversion of the triad with a fifth tone at the bottom. It is designated as “4/6”.

Quinta is an interval containing five steps. A fifth is called pure if it consists of three and a half tones. The pure fifth is denoted as “ch. 5″.

Quindecima – an interval containing fifteen steps. Quindecima is designated as “15”.

Quintet – ensemble of five performers, as well as a piece of music for this ensemble.

Circle of Quint – a system in which all keys of one fret are arranged in pure fifths.

Quintol – A rhythmic figure with five notes instead of the usual group of four. It is designated by the number “5” above or below the edge that unites the notes.

Quintsext chord is the first inversion of a seventh chord with a third chord at the bottom. Indicated as “5/6”.

Kitsch (kitsch) – Tasteless mass musical production designed for external effect.

Harpsichord – Stringed keyboard-plucked musical instrument.Known since the 16th century. There were harpsichords of various forms, types and varieties, including the harpsichord, virginel, spinet, clavicitherium. The harpsichord is one of the forerunners of the modern piano.

Keyboard – A set of levers-keys arranged in a certain order in keyboard musical instruments. Some of the musical instruments, for example, the harpsichord, may have several hand keyboards (manuals), the organ also has a keyboard for the feet.

Piano score – arrangement of an opera or symphonic score for piano performance.

Keyboard musical instruments – a group of musical instruments united by a common feature – the presence of keyboard mechanics and a keyboard.

Clarinet – woodwind musical instrument. Constructed at the beginning of the 18th century. In modern practice, soprano clarinets, piccolo clarinet, basset horn and bass clarinet are used.

Clipping is a phenomenon in digital audio where the calculated level of digital audio samples exceeds the maximum level that can be described with a given signal representation.

Key – a sign that determines the place of any sound on the staff, and, depending on it, all other sounds.

Key signs – alteration signs displayed next to the key.

Coherent waves – waves of the same frequency, the oscillations in which are distinguished by a constant phase difference that does not change with time.

Code – the final part of a piece of music completing it as a whole.

Codec – software or hardware unit designed to encode and decode data.

Oscillation – The change over time of a value in relation to a certain selected value.

Quantitative value of intervals – the number of steps covered by the interval.Depending on the quantitative value, the interval gets its name. For example, an interval containing three steps is called a third.

Compact disc (CD) – optical disc 120 mm in diameter with unchanged signal. The most common CDs with recorded sound programs played with optical players. The sound program for a standard CD is within 80 minutes.

Compressor – A device or program designed to narrow the dynamic range of an audio signal.

Condenser microphone is a microphone whose action is based on changing the capacitance of a condenser. Condenser microphones are highly sensitive. Many condenser microphones have a variable pick-up pattern.

Conservatory – Higher musical educational institution that trains musicians-performers, composers, musicologists and other specialists.

Consonance – continuous, coordinated simultaneous sounding of several different tones.The concept of consonance is opposed to the concept of dissonance. The consonant intervals include prima, octave, fifth, fourth, major and minor thirds, sixths, as well as chords composed of these intervals without the participation of dissonant ones.

Consonant intervals are softer sounding intervals, the sounds of which seem to merge with each other.

Perfect consonances – consonances in which there is a complete or significant fusion of sounds: prima, octave, fifth and partly fourth.

Imperfect consonances – consonances in which there is an insignificant fusion of sounds: major and minor thirds, major and minor sixths.

Double bass – The largest and lowest sounding stringed bowed musical instrument. Created in the middle of the 17th century on the basis of the double bass viola da gamba.

Counterpoint – 1. Simultaneous combination of two or more independent melodies in different voices.2. A melody added to this melody. 3. The same as polyphony. 4. Movable counterpoint – repeated polyphonic construction with a change in the intervals between melodies or the time of their entry relative to each other.

Contrabassoon – wind musical instrument. Bass type of bassoon.

Control room – see Control room.

Brown noise – noise whose spectral density decreases by 6 dB with each successive octave.

Cornet – wind musical instrument. It was distributed in the XVI-XVIII centuries.

Concerto – a large piece of music for a solo instrument with accompaniment of an orchestra, often consisting of three parts.

Correction – deliberate change of the characteristics of the device, for example, the frequency response, to reduce signal distortion.

Correlometer is a pointing device, the action of which is based on determining the difference between the phases of the signals of the left and right channels.

Absorption coefficient – The ratio of the absorbed sound energy to the incident one.

Creativity – the creativity of an individual, characterized by a willingness to create fundamentally new ideas that deviate from traditional or accepted thinking patterns.

Crescendo – a gradual increase in the strength (volume) of the sound.

Kruning (comes from the word “croon”, which literally means “purr” in English) – soft intimate manner of performance that appeared in the 30s of the XX century.

Kruner – singer using crooning as a style of performance.

Xylophone – Self-sounding percussion musical instrument. Consists of a series of wooden blocks of various lengths. It has been used in professional European music since the beginning of the 19th century. Among its modern varieties are marimba and tubafon.

Drawstring – Retractable part of brass musical instruments (without valves), used to change the length of the channel of the instruments and thus the height of the sounds produced.

Verse is a part of a song that includes one verse of lyrics and one tune.

Verse form – A widespread song musical form based on the repetition of one melody with different lyrics without modification.

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Cadence is a musical fantasy

There are many interesting techniques in music that make each melody unique and original.Cadenza is one such trick. Without it, the motive loses the most interesting moments.

Cadence: Definition

The word “cadence” is used in music in two ways:

• Cadence is an inclusion in a melody that is characterized by freedom, virtuosity and richness of musical color. In this sense, the cadenza was used in the opera by Italian composers of the 17th-18th centuries. In the same way, the technique was applied in instrumental solos of the 19th century.
• Cadence is a melodic improvisation incorporated into the main piece of music.

Typically, the cadence technique was used at the end of an instrumental solo or concert. In the process of performing this technique, the musician had the opportunity to show his talent in all its glory.

History of the origin of the concept

For the first time in musical theory, the term “cadence” was used by Florence de Faxolis in his treatise “The Book of Music”. Subsequently, the technique continued to develop in the theory of music of the 16th-17th centuries.

French music theorist Jean-Philippe Rameau was the first to describe the classification of cadence in the tonality of classical romanticism.

At first, the technique was used only in the rhapsodies of an instrumental concert. As a rule, it was improvisation, which was not recorded using musical notation. This was the case until the 19th century. For the first time, Ludwig van Beethoven ventured to write down the notes of the cadence in the creation of his Fifth Concerto for Piano and Orchestra.

Varieties of cadences

The basic classification of cadences was proposed by Jean-Philippe Rameau.Today, the following main types of reception are known:

• According to its location in the period of the melody, the cadence of music is middle (at the end of the first musical line), additional (at the end of the period).
• According to the composition of chords, the reception can be authentic. Then the final chord is played with the dominant. It is, as a rule, a combination of chords that brings a decisive and categorical ending to the ending of the melody (chords D-T, T-D-T).

An alternative to the authentic cadence is the plagal, that is, the ending built in the subdominant direction.This ending is soft and doubtful. Reception is played using a combination of T-S-T, S-T, T-S, etc.

• The degree of completion divides the cadence into half, full, and interrupted. Half cadence is a technique when the dominant chord does not end the period, but seems to hang in the air. There is an impression of a certain incompleteness of the melody. This cadence is usually used in the middle of a piece. The full move is performed using the subdominant at the beginning, the dominant in the middle and the tonic as the final chord.The full cadence is toned on all three sides. An interrupted reception involves a short improvisation and the continuation of the melody.
• Another criterion for dividing a musical reception is the sounding of the main voice of the melody. Such a yardstick divides the cadence into perfect and imperfect. Perfect brings the melody to the tonic in a strong beat. The work seems to be completely finished. With imperfect fantasy, the last chord falls on a third or weak beat. Such a melody is incomplete.

Which music uses cadence?

Cadence is also used in modern melodies. Music with such twists and turns of fantasy becomes brighter and more interesting.

The most common use of cadence is found in jazz. Here this technique is called “break”. In its final version, the break was formed in the blues. Free improvisation.

Cadence is used in classical music. In orchestral concerts, the conductor arranges the presentation of the melody in such a way that the fantasy performed by the solo instrument seems to be a fresh note in the fabric of general music.Without the cadence, the motive would be gray and uninteresting.

Azerbaycan Xalq musiqisinin esaslari

I. BUILD CLEAN QUARTS

3. Composing music in “Shur” mode

A. Scale range of the “Shur” fret

Three equal tetrachords built by the formula and connected
together (chain connection), form the scale of the “Shur” mode.In this scale
the first degree of the middle tetrachord is the tonic of the scale. With tonic
re of the first octave the scale of the “Shur” mode will be represented as follows:

This scale consists of a gradual succession of clean
quart.

V. Ladder functions of steps and permissible jumps

In this scale, the former tonic of the mode “Rast”
(third degree – before) reserves the right to the main top of the scale.
In the above scale:

First
the scale step has the function of the main tone mediant. She does not have
direct connection with the tonic of the mode “Shur” and does not participate in the gradual movement,
nor in the races.

Second
the scale step has the function of the lower introductory tone – the main tone.
Jumps from this step are not allowed in the “Shur” mode.

Third
step – the main tone of the scale.From this stage, jumps are allowed:
to a third, fourth and fifth from the main tone.

Fourth
the scale step has the function of the tonic of the scale. From this stage are allowed
jumps only in the ascending direction: to the upper median, the fourth
and fifth.

Fifth
scale step has the function of the upper opening tone of the tonic and the lower
the opening tone of the upper mediant. This step in the following cases
requires softening (lowering): 1) when it is between the tonic
and its repetition, 2) when taken in a jump from the main tone, 3) when
after the tonic, it jumps to the main tone.

For example:

Note. Lowering the above step after
the upper mediant is not in the style of Azerbaijani music.

Jumps from a given degree (not lowered) upward – only by a fourth of the tonic,
and down to the root.

Sixth
the degree of the scale has the function of the upper mediant of the tonic. From this stage
jumps are possible: up – for the fifth of the tonic, down – for the tonic and the main
tone.

Seventh
the scale step has the function of the tonic fourth; from this stage are allowed
jumps: up to the upper opening tone of the tonic fifth, as well as to the limiting
the tone of the scale, and down – to the lower opening tone of the upper mediant, to the tonic,
as well as the main tone.

Eighth
the scale step has the function of the tonic quinte. Jumps allowed: up
– on the ultimate toy, downwards – to the upper mediant of the tonic and to the tonic.

Ninth
the scale step has the function of the upper opening tone of the tonic quinte.
Only the upper fourth of the tonic is allowed to jump.

Tenth
the scale step has the function of the limiting tone. Horse racing allowed
just down by the fifth and fourth of the tonic.

C. Table of permissible jumps

D.Full and half cadences

The full cadence ends with the tonic. You can go to the tonic
approach step by step from above, below and directly jump. An example of complete
cadence:

Half cadence can be expressed by stopping at the upper lead-in
tone, top median, top fourth and top fifth.

Approach to the above steps is possible only from above,
and from below, and to the upper introductory tone – only from above.

Examples of half cadences:

| Rast | Shur
| Segah |

Cadence and bioenergy of walking of young people in the North

Doctor of Biological Sciences, Professor S.I. Loginov ¹
Candidate of Biological Sciences A.S. Kintyukhin ¹
Candidate of Technical Sciences, Associate Professor M.Ya. Braginsky ¹
Candidate of Biological Sciences, Associate Professor A.S. Snigirev ^1
1 Surgut State University, Surgut

In students (n = 37, age 19.8 ± 1.95 years, including 18 women), the relationship between walking cadence and its metabolic cost was studied within 3-6 METs. Participants walked on a treadmill at a speed of 2-7 km / h for 5 minutes at each speed. Oxygen consumption, respiration rate, heart rate, as well as step parameters (total step duration, fashion amplitude, gait index, step duration, duration of leg support, duration of leg transition) were recorded.Leg length, length and body weight were measured. It was found that as the walking speed increases, the value of the studied parameters increases (t test, p <0.05). The dependence of energy expenditure (E, MET) on the value of the cadence of walking (KX, step / min) does not have gender differences and is displayed by an equation of the form: E = 3.31-0.044KX + 0.004KX2, where E is the energy consumption in MET, KX - cadence value in steps / min; 0.044 and 0.004 are empirical coefficients (Note: Metabolic equivalent of physical activity, where 1 MET = 1.0 kcal / h / kg or 3.5 ml O2 / min / kg).The walking index increases as the walking speed increases from 2 to 7 km / h by 15.3 times in men and 19.4 times in women, which may presumably indicate a significant tension in the neurocomotor mechanisms of gait regulation with an increasing speed.
A population indicator of physical activity in the form of walking cadence for young men and women is proposed, equal to 95 and 120 strides / min with the corresponding energy expenditure of 3 and 4 METs. In the conditions of the North, it is additionally possible to use the walking index as an indicator of the individual body’s response to walking as a physical exercise.

Keywords: cadence, walking, walking index, O2 consumption, students.

References

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3. Safavynia S.A., Ting L.H. Sensorimotor feedback based on task-relevant error robustly predicts temporal recruitment and multidirectional tuning of muscle synergies. Neurophysiol. 2013. V. 109. N1. P. 31-45. doi: 10.1152 / jn.00684.2012.
4. Tudor-Locke C., Han H., Aguiar E.J., Barreira T.V., Schuna J.M., Kang M., Rowe D.A. How fast is fast enough? Walking cadence (steps / min) as a practical estimate of intensity in adults: a narrative review.Br. J. Sports. Med.