C A C 



CAD 



kind of cadence. " And, as all harmonic plirafc^ are necef- 

 farily coiintdcd by difcords, txprefled or und;.rllood, it 

 follows, that all mufic may he faid to confill of a fiiccelTion 

 of cadences." The ir^k de Po.'-/iiTf fcems to favour this idea ; 

 as everv other found carries adifcord. See Rfgli; <kl'ocliive. 

 According to Rameau, there are four kinds of cadences ; 

 the perfeft, imperfcft, interrupted, and difappointcd. 



6 



4- 



6 



5 



^.gg^i^Hil 



6 7 7 



h 



^ 



S#1S^ 



Padre Martini's cadences, in his Saggio di Contrappiinto, 

 being fuch as are peculiar to the ecclefiaftical modes, will be 

 of little ufe in fecnlar raufic. The clofes of Haydn, Mozart, 

 and Paefiello, however new, elegant, and ingenious the treble 

 may be, are all built on the bafes and harmony of the old 

 clofes of 100 years ago ; for in a full clufe. as the bafe mull 

 fall a fifth or rife a fourth, the treble mull either fall from the 

 ninth to the eighth, or rife from the feventh to the eighth. 



In early days of counterpoint, the great (Indy of com- 

 pofers was cadences. A Studio of Paleftrina being found at 

 Rome in the year 1770, it was chiefly filled with cadences 

 and chants, in his own hand-writing. 



'In melody, the preparation fur clofes in the principal part 

 are infinite ; in harmony they are numerous, but may be 

 numbered. Neither Rameau's cadences, nor thofe of Padre 

 Martini, quite fatisfy us. In Gafparini there is an ample 

 coUeAion, chap. vi. per far le catlcnze cTogtii forte. From 

 thefe Walther has cited many, but more correftly; for 

 Gafparini's book, in the edition which we have feen, is 

 miferably printed. The cadences in Walther are good, as 

 far as harmony is concerned, which is not fo changeable as 

 melody ; and to thefe, chiefly from Gafparini, we have all 

 the Italian names : as cadenza maggiore, m'more, magg'wre 

 fminuita, cadenza ifugg'ita,Jinla,Jiorha, perfelta, hnperfetla, ir- 

 regulars, d'inganno, &c. 



In ancient mufic, cadence is nearly fynonymous with 

 rhythm. The French make ufe of the term cadence for a 

 trille or fhake. 



C.\DENCE, in the Modern Dancing, is when the feveral 

 fteps and motions follow, or correfpond to, the notes or mea- 

 fures of the mufic. 



C.iDENCE, in the Manege, denotes an equal meafure, or 

 proportion obferved by a horfe in all his motions, when he 

 is thoroughly managed, and works juftly, either at the gallop, 

 terra a terra, or the airs. 



A horfe's working in cadence imports, that his times or 

 motions are uniform, and that one does not take in more 

 ground than another. 



Cadence, in Oratory, and Poetry, denotes the harmo- 

 nious movement of verfe or profe ; otherwife called the 

 numbers, and by the ancients ftS/^o,-. See Rhythm. 



As to profe, Ariftotle fuggefts that though it be not 

 meafured like verfe, it fliould neverthelefs be numerous or 

 harmonious (See Number) ; and Cicero enjoins the orator 

 to take care to gratify the ear, " fuperbifiimum aurium 

 judicium." Indeed, the fineft thoughts will be deltitute 

 of power to pleafe, if they are exprefled in terms that are 

 harfli and ill arranged. As the ear is agreeably foothed by 

 a foft and flowing difcourfe, it is offended by want of har- 

 mony in the Ihufture and flow of the periods ; whether it 



7 



be occafioned by the exceflive brevity and abrupt nefs of 

 termination, on the one hand, or by excefs of length, a 

 kind of crawling, languid, movement on the other, "which 

 arc both alike difgulUiig to a delicate ear. By obfc-rving 

 a due mean between thole two extremes, a difcouife acquires 

 that harmony which is adapted both to pleafe and even to 

 pcrfuade. See Style. 



As to the cadence of verfe, it depends, in Greek and 

 Latin poetry, on the number and proper intermixture 

 of thofe feet or periodic meafurcs which enter into the com- 

 pofition of verfe, and which vary in the different kinds of it ; 

 and, in living languages, the cadence rcfults from the 

 number of fyllables which each verfe admits, and from the 

 richnels, variety, and difpofition of the rhymes. In the an- 

 cient poetry, fays M. RoHln (Method of Teaching and Stu- 

 dying the Ikllcs LtttreS, vol. I. p. 249.) " There is a plain, 

 common, and ordinary harmony of cadence, which fu^jports 

 itfelf alike univcrfally, renders the vtrfc fmooth and flowing, 

 carefully throws out whatever may offend the ear by a 

 rough and difagrecable found ; and, by the mixtu'-c of difTe- 

 rent numbers and mcafures, forms tliat plealing harmony, 

 diffufed throughout the whole body of the poem." " Be- 

 fides this," he fays, " there arc certain particular cadences, 

 of greater fignificancy, which make a more fenfible im- 

 prelfion. Thefe forts of cadences are very beautiful in ver- 

 fification, and add a confiderable grace, provided they are 

 uled with prudence and addrefs, and do not return too often. 

 They prevent the tedioufnefs, which uniform cadences, 

 and regular returns, in one and the fame meafure, cannot 

 fail of producing." " In the Latin poetry," he adds, 

 " we have entire liberty to divide our verfes as we pleafe, 

 to vary the paufes (ca:furas, or cadences), at will, and art- 

 fully to fpare delicate ears the uniform returns of the daftyle 

 and fpondee, which clofe an heroic verfe." Accordingly 

 he produces a variety of examples from Virgil, which feem 

 to evince and illuftrate the value of this kind of liberty, and 

 the ufe that may be made of it. Thus, long words, pro- 

 perly placed, form a full and harmonious cadence, efpeci- 

 ally if there are feveral fpondees in the verfe , e. g. 

 " Luflantes ventos tempeftatcfque fonoras 

 Imperio premit." jEn. I. "JT. 

 Again, the fpondaic verfe has fometimes a great degree 

 of gravity. Virgil has ufed it very advantageoufly in the 

 defcription of Sinon's furprife and aflonifhment. 

 " Namque ut confpcftu in medio turbatus, inermis 

 Conflitit, atque oculis Phrygia agmiua circumfpexit." 



JEn. 11.67. 

 It IS alfo very proper for exprefGng any fentiraent that is 

 fad and doleful ; e. g. 



" Quae quondam in bun.is aut culminibus defcrtis 

 Noftc fedens, fen'im canit importuna per umbras." 



^n.XII. S63. 

 A monofyHable at the end of a verfe fervts fometimes to 

 give it great force ; e. g. 



" Hasrct pede pes, denfufque viro vir." jEn. X. 361. 

 There are alfo feveral forts of fufpended cadences, whicli 

 have their peculiar graces ; e. g. 

 ■' Et fruftra rctinacula tendens 



Fertur equis auriga, neque audit currus habenas." 



Georg. I. 51^. 

 Broken cadences likewife produce a good effeft ; e. g. 

 " Tali remigio navis fe tarda movebat : 

 Vela facit tamen." jEn. V. :8o. 

 Ehfions contribute very much to the beauty of verfe, by 

 making the numbers fmooth, flowing, rough or majeftic, 

 according to the difference of the objefts to be exprefled- 

 Spondees and long words, which give a flownefs and heavi- 

 nefs to verfe, arj^ proper for expreffing forrovv ; e. g. 



" Extinftum 



