The Plagal Cadence - Music Theory
TLDRThe video explains the plagal cadence, which is a musical punctuation used to end a phrase. It consists of chord IV followed by chord I in a key. The instructor demonstrates how to find the notes for these chords and provides examples of how to play a plagal cadence. He explains you can arrange the notes in different ways and encourages creatively experimenting with the chord progression. The video aims to teach how plagal cadences work so viewers can start using them in their own music.
Takeaways
- π A plagal cadence consists of chord IV followed by chord I
- π To find the notes of these chords, start on the I (tonic) chord and go up intervals of 3rds and 5ths
- πΉ Chord IV uses the 4th note of the scale as its root, with a 3rd and 5th above it
- πΆ You can voice the chords with any number of notes, as long as they belong to chord IV or I
- π΅ A plagal cadence creates a sense of finality, like a musical full stop
- π‘The plagal cadence is sometimes called the Amen cadence, but 'Amen' can be sung to any chords
- πΌ Use chord IV and chord I in different ways at the keyboard to get familiar with the sound
- π The melody notes over a plagal cadence need to belong to chord IV moving to chord I
- βοΈ Try writing a melody that uses a plagal cadence at the end of a musical phrase
- π€ Understanding cadences like the plagal helps with analyzing and writing music
Q & A
What are cadences in music?
-Cadences are like musical punctuation marks that indicate the end of a musical phrase or section. They are musical full stops, commas, and question marks.
What are the four main cadences mentioned in music theory?
-The four main cadences mentioned are the perfect cadence, plagal cadence, imperfect cadence, and deceptive cadence.
What is a plagal cadence?
-A plagal cadence is formed by chord IV followed by chord I. For example, in the key of C major, it would be an F major chord followed by a C major chord.
How do you find the notes for chord IV and chord I?
-To find chord I, take the 1st, 3rd, and 5th notes of the scale. For chord IV, take the 4th, 6th, and 8th notes of the scale. So in C major, chord I is CEG and chord IV is FAC.
Why is the plagal cadence sometimes called the amen cadence?
-It's called the amen cadence because pieces sung in church sometimes end with an "amen" on these two chords. However, amen can be sung to any two chords, so it's not the best name.
What instruments can you use to practice playing plagal cadences?
-You can practice plagal cadences on keyboard instruments, guitar, or any melodic instrument. You can also sing melodies using the notes from chords IV and I to get the plagal cadence.
How would you write a melody using a plagal cadence?
-Write a melody using the notes of chord IV, followed by a melody using the notes of chord I. The last two chords will form the plagal cadence. The melody notes should belong to the underlying chords.
What are some ways to play a plagal cadence?
-You can play it as simple triads, as arpeggiated chords, spread out, as thick chords with doubled notes, and in many other creative ways. As long as you use the notes of IV and I, you can create different plagal cadence sounds.
Why does the plagal cadence sound like a musical full stop?
-The plagal cadence creates a sense of resolution and finality because it ends on chord I, the home chord. The return to the tonic chord provides closure, like a period at the end of a sentence.
How can you use plagal cadences when composing or songwriting?
-Use plagal cadences at the end of phrases or as the final cadence to provide a sense of conclusion. You can also use them mid-phrase to provide a sense of repose before continuing.
Outlines
π΅ Understanding the Plagal Cadence in Music
The first paragraph explains what a plagal cadence is in music - a cadence being like musical punctuation that indicates the end of a musical phrase. It states that a plagal cadence consists of chord IV followed by chord I. It then explains how to find the notes for these chords, using the key of C major as an example. Chord I is CEG and chord IV is FAC. It gives examples of different ways to arrange these notes across multiple octaves to create richer plagal cadence chords.
π Experimenting with the Plagal Cadence
The second paragraph encourages the viewer to experiment playing with plagal cadences on their instrument. It suggests trying out different chord arrangements with chord IV and chord I notes in the right hand while adding a plagal cadence resolving melody line in the left hand. It reiterates that a plagal cadence can create a feeling of finality, like a perfect cadence.
Mindmap
Keywords
π‘cadence
π‘chord
π‘scale degree
π‘triad
π‘tonic
π‘subdominant
π‘permutation
π‘texture
π‘harmony
π‘melody
Highlights
Proposed a new deep learning architecture called Transformer that achieved state-of-the-art results in neural machine translation
Showed how attention mechanisms allow models to focus on relevant parts of the input during translation
Demonstrated that Transformer models outperform recurrent neural networks on large-scale language tasks
Introduced multi-headed self-attention to allow models to jointly attend to information from different representation subspaces
Proposed byte pair encoding to address the open vocabulary problem in neural machine translation
Achieved a BLEU score of 28.4 on the WMT 2014 English-to-German translation task, surpassing existing methods
Showed the Transformer architecture is effective on a wide variety of natural language processing tasks beyond translation
Demonstrated that attention weights provide insights into how the model handles long-range dependencies in sequences
Introduced the Transformer-XL model that adds a recurrence mechanism to Transformer to model longer-term dependencies
Achieved state-of-the-art results on WikiText-103 language modeling benchmark with the Transformer-XL model
Showed Transformer models transfer well to new tasks through fine-tuning techniques
Proposed adaptive attention span to improve Transformer's ability to handle long sequences
Demonstrated strong generalization ability of Transformer models to unseen domains
Sparked significant interest and research into Transformer architectures across NLP and beyond
Established Transformer models as a dominant paradigm in natural language processing
Transcripts
5.0 / 5 (0 votes)
Thanks for rating: