Kadenz - vertaling naar Engels
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  • gebruiksfrequentie
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  • etymologie

Kadenz - vertaling naar Engels

MELODIC AND/OR HARMONIC CONFIGURATION AT THE END OF A PHRASE, SECTION, OR PIECE OF MUSIC
Perfect authentic cadence; Authentic cadence; Plagal cadence; Half cadence; Deceptive cadence; Perfect cadence; Cadence music; Deceptive Cadence; Full cadence; Trugschluss; Unvollkommene Kadenz; Plagalschluss; Authentischer Schluss; Imperfect cadence; Feminine cadence; Cadences; Imperfect authentic cadence; Ganzschluss; Masculine cadence; Harmonic cadence; Full close; Open cadence; Closed cadence; Phrygian cadence; Phrygian progression; Phrygian half cadence; Deceptive resolution; Rhythmic cadence; Clausula vera; Interior cadence; Evaded cadence; Interrupted cadence; Half close; False close; Demi-cadence; Inverted cadence; Church cadence; Irregular cadence; Surprise cadence; Abrupt cadence; Amen cadence; Avoided cadence; Broken cadence; Complete cadence; Greek cadence; Strong cadence; Cadential; Plagal Cadence; Amen Cadence; Half close cadence; Minor plagal cadence; Burgundian cadence; Semicadence; Medial cadence; Radical cadence; Half-cadence; Kadenz; Kadence; Kaydence; Cadence (music); Semi-cadence; Plagal half cadence; Moravian cadence
  • Bach, Prelude in F minor, bars 57–60 with expected conclusion
  • Bach, Prelude in F minor, bars 57–60 with expected conclusion
  • Bach, Prelude in F minor bars 57–70
  • Bach, Prelude in F minor bars 57–70
  • Bach Toccata in F, BWV 540 bars 197–207
  • Bach Toccata in F, BWV 540 bars 197–207
  • Beethoven Piano Sonata 21, 1st movement, bars 78–84
  • Beethoven Piano Sonata 21, 1st movement, bars 78-84
  • Beethoven Piano Sonata Op 109, 2nd movement, bars 97–112
  • Beethoven Piano Sonata Op 109, 2nd movement, bars 97–112
  • Beethoven Presto from Quartet Op. 130
  • Beethoven Presto from Quartet Op. 130
  • Chopin Fantaisie in F minor, Op. 49
  • Chopin Fantaisie in F minor, Op. 49
  • Debussy, La Fille aux cheveux de lin, bars 26–29
  • Debussy, La Fille aux cheveux de lin, bars 26–29
  • Debussy La Fille aux Cheveux de Lin, bars 1-4
  • Debussy la Fille aux cheveux de lin, bars 1-4
  • Dvořák Slavonic Dance Op 72, No. 2
  • Dvořák Slavonic Dance Op 72, No. 2
  • From Bach chorale, Wachet auf
  • From Bach chorale, Wachet auf
  • Handel, Messiah, Hallelujah Chorus closing bars
  • Handel, Messiah, Hallelujah Chorus closing bars
  • Mozart Fantasia on D minor K397 closing bars
  • Mozart Fantasia on D minor K397 closing bars
  • Mozart Romanze from Piano Concerto 20
  • Mozart Romanze from Piano Concerto 20
  • Wagner, Tristan, Liebestod closing bars
  • Wagner, Tristan, Liebestod closing bars

Kadenz         
n. cadency, rhythm, measured movement; rise and fall of a voice; (Music) cadenza, final flourish in a solo
cadenza      
n. Kadenz (mus., Abschnitt, der das Ende eines musikalischen Kapitels hervorhebt)
cadency      
n. Kadenz (mus., Abschnitt, der das Ende eines musikalischen Kapitels hervorhebt)

Definitie

cadence
n. (usu. mil.)
1) to count cadence
2) in cadence

Wikipedia

Cadence

In Western musical theory, a cadence (Latin cadentia, "a falling") is the end of a phrase in which the melody or harmony creates a sense of full or partial resolution, especially in music of the 16th century onwards. A harmonic cadence is a progression of two or more chords that concludes a phrase, section, or piece of music. A rhythmic cadence is a characteristic rhythmic pattern that indicates the end of a phrase. A cadence can be labeled "weak" or "strong" depending on the impression of finality it gives. While cadences are usually classified by specific chord or melodic progressions, the use of such progressions does not necessarily constitute a cadence—there must be a sense of closure, as at the end of a phrase. Harmonic rhythm plays an important part in determining where a cadence occurs.

Cadences are strong indicators of the tonic or central pitch of a passage or piece. The musicologist Edward Lowinsky proposed that the cadence was the "cradle of tonality".

Voorbeelden uit tekstcorpus voor Kadenz
1. Doch glaubt man ohne weiteres schon bei erster Begegnung mit den ‘farben der frühe‘ allerhand tonalitätsgebundene Formeln, Ordnungsmuster und Grundrhythmen erahnen und wiedererkennen zu können, die dem Ohr bestens vertraut sind: einen Vordersatz, einen Nachsatz, die Reprise, die Fortspinnung, den Orgelpunkt, eine Art durchbrochene Arbeit, eine Art Walzer, eine Art Swing, eine Art Kadenz und eine echte Coda.
2. Doch die fein gesetzten Tempoakzente in der Kadenz, das lyrisch innig genommene Larghetto, die sanft ausgewogene, überlegen ausbalancierte Heiterkeit des Variationsfinale – das atmet das Wissen und das Können der ganz Großen."Weitere Artikel: Eckhard Fuhr interviewt Klaus Mangold, den Vorsitzenden der Freunde der Berliner Akademie der Künste zur Zukunft der um ihren tieferen Sinn bangenden Institution.