Végzárók

Végzárók are a type of musical cadence, a chord progression that brings a piece of music to a conclusion. The term is Hungarian, literally meaning "ending closure." In Western music theory, these are often referred to as cadences.

There are several types of végzárók, each with a different harmonic effect. The most common and strongest is the authentic cadence, typically progressing from a dominant chord (V) to a tonic chord (I). This creates a sense of finality and resolution. A common authentic cadence in the key of C major would be G major to C major.

Another significant type is the plagal cadence, which moves from the subdominant chord (IV) to the tonic chord (I). Often described as the "Amen cadence," it has a softer, less emphatic sense of closure than the authentic cadence. In C major, this would be F major to C major.

The half cadence is a progression that ends on the dominant chord (V), leaving the music feeling unresolved and anticipating further development. It acts as a pause rather than a definitive end.

Finally, the deceptive cadence is a progression that moves from the dominant chord (V) to a chord other than the tonic, most often the submediant chord (vi). This creates a surprise and can lead the listener in an unexpected direction before a final resolution is achieved. In C major, a deceptive cadence might go from G major to A minor.

The specific choice and ordering of végzárók significantly influence the emotional impact and perceived completeness of a musical composition. Composers use them strategically to shape the listener's experience.