La cadence plagale
en classique, en majeur


Sélectionnez une tonalité majeure :

La cadence plagale ou cadence d'église par analogie avec les modes d'églises du plain-chant (chat grégorien) dits plagaux. Il s'agit d'un mouvement du IVe au Ier degré, très utilisé dans les formules du gospel. C'est une forme de conclusion plus douce que la cadence parfaite.

['P4','','IV','SD'],['P1','','I','T']
['P4','','IV','SD'],['P1/M3','','I/3','t']
['P4/P5','','IV/5','SD'],['P1','','I','T']

Conduite des voix avec arrivée au soprano sur :

La cadence plagale en classique en mineur.

1. Arrivée sur la tonique au soprano (I.1)

1.1 En positions fermées

Q:1/1=40 %%player_no_voice %%piano3+1CD K:C [V:C] "F"x | "C"x || "F"x | "C/E"x || "F/C"x | "C"x |] [V:D] "IV"x | "I"x || "IV"x | "I/3"x || "IV/5"x | "I"x |] [V:A] !n>(!c | !blue!!n>)!c || !n>(!c | !blue!!n>)!c || !blue!!n>(!c | !blue!!n>)!c |] [V:S] A | G || A | G || A | G |] [V:T] !blue!!o>(!F | !o>)!E || !blue!F | !blue!C || !o>(!F | !o>)!E |] [V:B] !blue!F, | !blue!C, || !blue!!o>(!F, | !o>)!E, || !blue!!n>(!C | !blue!!n>)!C |]
De type A.
Q:1/1=40 %%player_no_voice %%piano3+1CD K:C [V:C] "F"x | "C"x |] [V:D] "IV"x | "I"x |] [V:S] A | !blue!c |] [V:A] !blue!F | G |] [V:T] C | E |] [V:B] !blue!F, | !blue!C, |]
De type B.

1.2 En positions ouvertes

Q:1/1=40 %%player_no_voice %%piano2+2CD K:C [V:C] "F"x | "C"x || "F"x | "C/E"x || "F/C"x | "C"x |] [V:D] "IV"x | "I"x || "IV"x | "I/3"x || "IV/5"x | "I"x |] [V:A] !n>(!c | !blue!!n>)!c || !n>(!c | !blue!!n>)!c || !blue!!n>(!c | !blue!!n>)!c |] [V:S] !blue!!o>(!F | !o>)!E || !blue!F | !blue!C || !o>(!F | !o>)!E |] [V:T] A, | G, || A, | G, || A, | G, |] [V:B] !blue!F, | !blue!C, || !blue!!o>(!F, | !o>)!E, || !blue!!n>(!C, | !blue!!n>)!C, |]
De type A.
Q:1/1=40 %%player_no_voice %%piano2+2CD K:C [V:C] "F"x | "C"x |] [V:D] "IV"x | "I"x |] [V:S] A | !blue!c |] [V:A] C | E |] [V:T] !blue!F, | G, |] [V:B] !blue!F,, | !blue!C, |]
De type B.

2. Arrivée sur la tierce au soprano (I.3)

2.1 En positions fermées

Q:1/1=40 %%player_no_voice %%piano2+2CD K:C [V:C] "F"x | "C"x || "F/C"x | "C"x |] [V:D] "IV"x | "I"x || "IV/5"x | "I"x |] [V:S] !blue!!o>(!F | !o>)!E || !o>(!F | !o>)!E |] [V:A] !n>(!C | !blue!!n>)!C || !blue!!n>(!C | !blue!!n>)!C |] [V:T] A, | G, || A, | G, |] [V:B] !blue!F, | !blue!C, || !blue!!n>(!C, | !blue!!n>)!C, |]
De type A.
Q:1/1=40 %%player_no_voice %%piano3+1CD K:C [V:C] "F"x | "C"x |] [V:D] "IV"x | "I"x |] [V:S] c | e |] [V:A] A | !blue!c |] [V:T] !blue!F | G |] [V:B] !blue!F, | !blue!C |]
De type B.

3. Arrivée sur la quinte au soprano (I.5)

3.1 En positions fermées

Q:1/1=40 %%player_no_voice %%piano2+2CD K:C [V:C] "F"x | "C"x || "F"x | "C/E"x || "F/C"x | "C"x |] [V:D] "IV"x | "I"x || "IV"x | "I/3"x || "IV/5"x | "I"x |] [V:A] A | G || A | G || A | G |] [V:S] !blue!!o>(!F | !o>)!E || !blue!F | !blue!C || !o>(!F | !o>)!E |] [V:T] !n>(!C | !blue!!n>)!C || !n>(!C | !blue!!n>)!C || !blue!!n>(!C | !blue!!n>)!C |] [V:B] !blue!F, | !blue!C, || !blue!!o>(!F, | !o>)!E, || !blue!!n>(!C, | !blue!!n>)!C, |]
De type A.
Q:1/1=40 %%player_no_voice %%piano2+2CD K:C [V:C] "F"x | "C"x |] [V:D] "IV"x | "I"x |] [V:A] !blue!F | G |] [V:S] C | E |] [V:T] A, | !blue!C |] [V:B] !blue!F, | !blue!C, |]
De type B.

3.2 En positions ouvertes

Q:1/1=40 %%player_no_voice %%piano3+1CD K:C [V:C] "F"x | "C"x || "F"x | "C/E"x || "F/C"x | "C"x |] [V:D] "IV"x | "I"x || "IV"x | "I/3"x || "IV/5"x | "I"x |] [V:A] a | g || a | g || a | g |] [V:S] !n>(!c | !blue!!n>)!c || !n>(!c | !blue!!n>)!c || !blue!!n>(!c | !blue!!n>)!c |] [V:T] !blue!!o>(!F | !o>)!E || !blue!F | !blue!C || !o>(!F | !o>)!E |] [V:B] !blue!F, | !blue!C, || !blue!!o>(!F, | !o>)!E, || !blue!!n>(!C, | !blue!!n>)!C, |]
De type A.
Q:1/1=40 %%player_no_voice %%piano3+1CD K:C [V:C] "F"x | "C"x |] [V:D] "IV"x | "I"x |] [V:A] !blue!f | g |] [V:S] A | !blue!c |] [V:T] C | E |] [V:B] !blue!F, | !blue!C, |]
De type B.