Plagal Cadence: A term in music theory referring to a harmonic progression that moves from the subdominant chord (IV) to the tonic chord (I), often used to evoke a sense of resolution or solemnity.
Context and Significance
Plagal cadences are a staple in Western music, providing a gentle resolution often described as the “Amen” cadence due to its frequent use in hymns and religious music. They are less definitive than authentic cadences, offering a softer closure to musical phrases. Plagal cadences are prevalent in choral works, where they enhance the spiritual and reflective nature of the compositions. They are also found in classical and modern genres, enriching harmonic progressions with their unique, calming effect.
Historical Background
The plagal cadence has roots in early church music, where it was prominently used in Gregorian chants. Its association with the “Amen” of hymns solidified during the Renaissance and Baroque periods, as composers sought ways to conclude pieces with a sense of reverence. Over time, the plagal cadence became a significant element in Western classical music, favored for its ability to provide a sense of closure without the finality of more pronounced cadences.
Examples
Johann Sebastian Bach frequently employed plagal cadences in his choral works, such as in the ending of the “St. Matthew Passion.” The cadence is also evident in the works of modern composers like John Rutter, where it enhances the meditative qualities of his choral compositions. In popular music, plagal cadences appear in songs like “The Sound of Silence” by Simon & Garfunkel, adding depth to the harmonic landscape.
Related Terms:
– Authentic Cadence: A progression from the dominant (V) to the tonic (I), providing a strong resolution.
– Half Cadence: A cadence that ends on the dominant (V), creating a sense of suspension.
– Deceptive Cadence: A progression where the expected tonic (I) is replaced by an alternative chord, usually the submediant (vi).