Show Summary Details

Page of

Printed from Oxford Music Online. Grove is a registered trademark. Under the terms of the licence agreement, an individual user may print out a single article for personal use (for details see Privacy Policy and Legal Notice).

date: 27 November 2020

Landini cadence [Landino 6th] (Ger. Landinoklausel, Landinosext)locked

  • David Fallows


[Landino 6th] (Ger. Landinoklausel, Landinosext)

A name often used for a cadential formula in which the sixth degree of the scale is interposed between the leading note and its resolution on the tonic or final degree (ex.1). Many examples appear in the ballate of Francesco Landini (exx.2 and 3), but it is particularly common in polyphony of the 15th and early 16th centuries.

The pattern is perhaps inevitable because contrapuntal theory of the Middle Ages required that a cadence should include two voices moving outwards to an octave (or perhaps a 5th), and composers were driven to add variety by embellishing the progression: several different kinds of embellishment pattern can be found in the music of that time, most of them giving prominence to the sixth degree which had the advantage of giving a perfect 5th with the lower voice in all such cadences. Exx.4, 5 and 6 show the three most common types of the cadence, all taken from the songs of Binchois....

You do not currently have access to this article


Please login to access the full content.


Please subscribe to access the full content.