THE CADENCE

In the context of tonal music it is very common to find harmonic links that define the
directionality of the music, they generate inflection points that compromise the
tonality, modulations, changes of tonal center and mode.

In general we can talk about two types of cadences: conclusive and suspensive. The
conclusives are the perfect cadence and the plagal, both in fundamental state, the
suspensives would be imperfect, semi-cadence and the broken.

All of them fulfill a specific function according to the context where they are located in
the musical discourse, some are conclusive or restful, others separate musical ideas or
play a modulating role.

That of a cadence is preceded by a series of chords that has to do with its preparation
and the different elaboration formulas characteristic of a construction or a composer,
The way in which the chords are ordered gives us information about the author's
intention in the direction of the music, in them we find closed and open arrangements
that expand and contract the sound elements depending on the mode.

Another aspect to take into account are the resolutions of each chord to determine the
types of harmonic links that are based on musical discourse and, on the other hand,
the individual resolution of the chord notes. With data we can obtain information
about the time or innovations that are taking place throughout the history of music.