Lesson Notes By Weeks and Term v3 - Senior Secondary 2
Cadence(plagal/semi-cadence)
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Cadence(plagal/semi-cadence)
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Subject: Music
Class: Senior Secondary 2
Term: 1st Term
Week: 1
Theme: Musical Practice And Performance A : Aural Training I
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Students should be able to identify the plagal and semi cadences on the board. write the root movements of the semi cadence: (d-s,) and plagal cadence (f-d). differentiate bet" een the two cadences.
Introduction to Cadence: A cadence is a harmonic progression that signifies the end of a musical phrase, section, or an entire piece. It provides a sense of resolution or temporary pause, much like punctuation in language. Cadences are fundamental to musical structure and form.
Types of Cadences for this Lesson: Plagal Cadence (IV-I)
Definition: The plagal cadence is a progression from the subdominant chord (IV) to the tonic chord (I). It is often referred to as the "Amen Cadence" due to its frequent use at the end of hymns and religious songs.
Harmonic Movement: It moves from the chord built on the fourth degree of the scale to the chord built on the first degree.
Root Movement (Solfa): The root movement is from Fa (IV) to Do (I). In a C major key, this would be from F major to C major.
Feeling/Effect: The plagal cadence provides a sense of gentle finality and often a spiritual or contemplative conclusion. It is less assertive than a perfect authentic cadence (V-I).
Example (C Major): Chord IV: F major (F-A-C)
Chord I: C major (C-E-G)
Progression: F major $\rightarrow$ C major Notation
Example: (Keyboard notation - example in C major) ``` Treble Clef | F A C | C E G | | (IV) | (I) | ``` Application in Nigerian Context: Frequently found in Nigerian Christian hymns (e.g., Nairu akwa-obara, Oluwa modupe), gospel music, and some traditional choral pieces, especially those with a reflective or worshipful tone. Semi-Cadence (Half Cadence) (ends on V)
Definition: A semi-cadence (or half cadence) is any harmonic progression that ends on the dominant chord (V). It is an incomplete cadence that creates a sense of pause or expectation, requiring further musical development to achieve a full resolution.
Harmonic Movement: It typically moves from the tonic (I), subdominant (IV), or supertonic (ii) to the dominant chord (V). The performance objective specifically highlights the (I-V) progression.
Root Movement (Solfa): For the (I-V) progression, the root movement is from Do (I) to Sol (V). In a C major key, this would be from C major to G major.
Feeling/Effect: The semi-cadence creates a feeling of 'hanging' or 'suspense,' like a comma in a sentence. It suggests that the music is pausing mid-thought and will continue. It is not a conclusive ending.
Example (C Major): Progression I-V: Chord I: C major (C-E-G)
Chord V: G major (G-B-D)
Progression: C major $\rightarrow$ G major Progression IV-V: Chord IV: F major (F-A-C)
Chord V: G major (G-B-D)
Progression: F major $\rightarrow$ G major Notation
Example: (Keyboard notation - example I-V in C major) ``` Treble Clef | C E G | G B D | | (I) | (V) | ``` Application in Nigerian Context: Common in traditional call-and-response patterns where the call ends with a sense of anticipation for the response, highlife music, juju, and contemporary Nigerian pop where phrases often pause on the dominant before moving to a new section or repeating. Differentiation between Plagal and Semi-Cadence: | Feature | Plagal Cadence (IV-I) | Semi-Cadence (ends on V) | | :-------------- | :------------------------------------------------------- | :--------------------------------------------------------- | | Ending Chord| Tonic (I) | Dominant (V) | | Root Movement| Fa-Do (f-d) | Do-Sol (d-s) for I-V; Fa-Sol (f-s) for IV-V, etc. | | Feeling | Gentle finality, spiritual, reflective, conclusive. | Incomplete, suspenseful, anticipatory, requiring continuation. | | Function | Provides a gentle close to a phrase or section. | Acts as a pause or comma, indicating continuation is expected. | | Alternative Name | Amen Cadence | Half Cadence | Materials: Keyboard/Piano, whiteboard/chalkboard, staff notation sheets, markers/chalk.
Teacher Activities: Introduction (10 minutes): Begin by reviewing the concept of a musical phrase and the general idea of a cadence as a musical "punctuation mark." Engage students by playing short melodic fragments and asking them to identify where the music feels like it's pausing or ending.
Introduce the specific topic: Plagal and Semi-cadences. State the learning objectives for the lesson. Explanation of Plagal Cadence (15 minutes): Explain the definition of a plagal cadence (IV-I). Demonstrate on the keyboard the progression in a familiar key (e.g., C major, G major). Play Chord IV then Chord I. Explain and demonstrate the root movement using solfa syllables (Fa-Do). Have students echo the solfa. Play the cadence several times, emphasizing its "Amen" quality. Write the chord progression in Roman numerals (IV-I) and on the staff on the board.
Mention its alternative name: "Amen Cadence." Explanation of Semi-Cadence (15 minutes): Explain the definition of a semi-cadence (ending on V). Demonstrate on the keyboard the common progressions ending on V (e.g., I-V, IV-V) in the same key as above. Focus primarily on I-V as per the objective (d-s). Explain and demonstrate the root movement using solfa syllables (Do-Sol for I-V). Have students echo the solfa. Play the cadence several times, emphasizing its incomplete, 'hanging' quality. Write the chord progression (e.g., I-V) in Roman numerals and on the staff on the board.
Mention its alternative name: "Half Cadence." Aural Differentiation and Identification (15 minutes): Play various examples of both plagal and semi-cadences (individually and within short phrases). Instruct students to identify each cadence aurally. Start with clear, isolated examples, then gradually embed them in short musical snippets. Ask students to describe the 'feeling' of each cadence after identification. Visual Identification and Notation (10 minutes): Present written examples of both cadences on the board or projected, asking students to identify them. Guide students to write down the root movements (f-d for plagal, d-s for semi-cadence) and the Roman numeral progressions.
Student Activities: Active Listening: Students listen attentively as the teacher demonstrates cadences on the keyboard.
Aural Identification: Students raise hands or use pre-assigned signals to identify whether a played cadence is plagal or semi-cadence.
Vocalisation: Students vocalize the solfa root movements (Fa-Do, Do-Sol) as demonstrated by the teacher.
Notation Practice: Students practice writing the Roman numeral progressions and root movements for each cadence type on their staff notation sheets or notebooks.
Discussion: Students participate in discussions about the 'feeling' and function of each cadence.
Collaborative Analysis: In pairs or small groups, students identify cadences in short musical excerpts provided by the teacher (e.g., printed hymns, folk songs).
Instructions for Teacher: Play each cadence on the keyboard multiple times, allowing students to listen carefully before attempting to answer. Then, present the notation for visual identification. Question 1 (Targeting P.O. 1 & 3): The teacher plays a two-chord progression in C major: Chord IV (F major) followed by Chord I (C major).
Question: Identify this cadence. What is its characteristic 'feeling'?
Solution: This is a Plagal Cadence. Its characteristic feeling is one of gentle finality, often sounding spiritual or reflective.
Commentary: This question assesses aural identification and understanding of the emotional impact, directly addressing the core differentiation aspect. Question 2 (Targeting P.O. 1 & 3): The teacher plays a two-chord progression in G major: Chord I (G major) followed by Chord V (D major).
Question: Identify this cadence. How does its 'feeling' differ from the previous one?
Solution: This is a Semi-Cadence (Half Cadence). Its feeling differs because it sounds incomplete, like a pause or question, indicating that more music is expected, rather than a final conclusion.
Commentary: This reinforces aural identification and the crucial differentiation based on the feeling, ensuring students grasp the functional distinction. Question 3 (Targeting P.O. 2): Question: Write down the solfa root movements for the Plagal Cadence and the Semi-Cadence (specifically I-V progression).
Solution: Plagal Cadence: f - d (Fa to Do)
Semi-Cadence (I-V): d - s (Do to Sol)
Commentary: This directly addresses Performance Objective 2, ensuring students can recall and write the specific solfa movements. Question 4 (Targeting P.O. 1, 2 & 3): The teacher presents the following two-chord progression in E♭ major on the board: ``` Treble Clef (E♭ Major) | A♭ C E♭ | E♭ G B♭ | | (IV) | (I) | ``` Question: Identify the cadence shown above. What are its Roman numeral and solfa root movements? Why is it distinct from a semi-cadence?
Solution: This is a Plagal Cadence.
Roman numeral movement: IV -
I. Solfa root movement: f - d (Fa to Do). It is distinct from a semi-cadence because it ends on the tonic (I) chord, providing a sense of conclusion and rest, whereas a semi-cadence ends on the dominant (V) chord, leaving a feeling of incompletion and anticipation.
Commentary: This combines visual identification, notation of Roman numerals and solfa, and conceptual differentiation, ensuring comprehensive understanding.
Differentiation Strategies: For struggling learners (Remediation): Simplified Aural Training: Focus on very distinct, slow-played examples on the keyboard. Use visual aids (e.g., flashcards with Roman numerals IV-I or I-V) while playing.
Rote Learning of Solfa: Have them repeatedly sing the solfa root movements (Fa-Do, Do-Sol) until they are firm.
Colour-coding: Use different coloured markers on the board to highlight the tonic, subdominant, and dominant chords for easier visual distinction.
Peer Support: Pair struggling learners with more confident students for guided practice and explanation.
Focus on One Cadence at a Time: Master plagal, then semi-cadence, before attempting differentiation. For high-achieving learners (Extension/Enrichment): Cadence Inversions: Challenge them to write and identify plagal and semi-cadences using inversions (e.g., IVb-I, I-V6).
Advanced Aural Training: Introduce cadences in minor keys or more complex harmonic contexts (e.g., semi-cadence involving ii-V).
Compositional Application: Task them to compose a short eight-bar melody (perhaps in a Nigerian style like a praise song or a highlife fragment) that incorporates both a semi-cadence (mid-phrase) and a plagal cadence (at the end).
Transposition: Ask them to transpose the cadences learned into different keys.
Research: Encourage them to research and present on other types of cadences (e.g., authentic, deceptive) and their uses in different musical traditions, including Nigerian art music.
Choral Music and Worship Leading: Understanding plagal cadences is vital for Nigerian choir directors, organists, and worship leaders. It helps them correctly interpret and perform hymns, anthems, and gospel songs, ensuring the 'Amen' or final chord feels appropriately conclusive and reflective. For instance, in many praise and worship sessions, the final chord of a song often employs a plagal cadence for a soft, spiritual close. Music Composition and Arrangement (Nigerian Genres): Aspiring Nigerian composers and arrangers can intentionally use these cadences to shape the emotional journey of their music. A semi-cadence can be used to create suspense before a powerful chorus in a highlife tune or to set up a call-and-response section in a traditional folk song. A plagal cadence can provide a gentle, reflective ending for a lullaby or a mournful dirge. Analysis of Traditional and Contemporary Nigerian Music: By identifying plagal and semi-cadences, students can gain a deeper analytical insight into the harmonic structure of various Nigerian musical forms. They can analyze how highlife musicians use semi-cadences to punctuate instrumental breaks or how gospel artists use plagal cadences to reinforce spiritual messages, thereby understanding the underlying principles that make the music effective and culturally resonant.