Coda. The coda (also known as the auslaut) is made up of the consonant sounds of the syllables that come after the nucleus. (On a phonetic level, different codas emerge as a result of the elision of /i/ and /u/.) In other languages, practically any consonant that can be used as an onset may also be used in the coda, including consonant clusters. However only few languages include the full range of possible codas. For example, English does not allow the use of fricatives in the coda, while Spanish does.
In English, the coda is usually a voiceless fricative (/s/, /z/). This follows the nucleus which is usually a voiced plosive (/b/, /d/, /g/, /p/, /t/, /k/). A similar pattern is seen in French where the coda is always an affricate (/s'/ before a vowel or a mute /h/). In German, the coda is usually a sonorant (usually /n/ or /r/), although sometimes it can also be a fricative (/s/ or /z/).
The coda is important for several reasons. First, it helps distinguish words ending in /s/ and /z/ (e.g., "prescription" and "recension"). Second, it provides more variation at the end of a word (where otherwise only /s/ or /z/ would be allowed).
In musical composition, a "tail" is a finishing piece (usually at the conclusion of a sonata movement) that is built, in general, on expansions or reelaborations of previously heard subject material. The term is also applied to such a piece at the beginning of a larger work.
There are two types of tails: one based on repetition of motifs or forms, the other based on development or expansion of ideas. Both types of tail can be used as bridges to links below them in the hierarchy of movements. A tail may be short or long. If it is longer than one movement, it is called an essemble. There are many different names for these pieces at the end of a sonata movement, but they all mean the same thing: a piece that expands on material from another part of the work.
The word "coda" comes from the Italian word for "little head", because these pieces were often shorter than the rest of the work. They could be as short as a single melody played again and again or expand into full-scale finales with new themes introduced. The term "coda funebre" was originally used for the final movement of a funeral cantata. It is now used for any finale following a major key, no matter what the genre.
Coda, which means "tail" in Italian, normally refers to musical choices; in cinema, it refers to the epilogue, ending, or last segment of a film (often wordless) that gives closure, a conclusion, or a recap of the previous plot. The term is also used for the group of musicians who play these segments.
Often, but not always, they are short, instrumental pieces with a light touch and easy listening style music. In fact, many movies have very little action and no sound effects, so often the only sounds you hear are those made by composers to mark important moments in the story or provide atmosphere. These can be simple sounds such as a piano chord, or more elaborate ones such as a full orchestra score.
Musicians who write music for movies usually work under an award-winning composer who writes the main theme and other memorable melodies. They may also contribute additional themes, solos, or backing tracks for specific scenes or actions. Although most films do not use every note of a symphony, almost all feature songs that are sung by actors on screen. These songs are often the highlight of the movie for viewers of all ages.
Sign of the coda. The coda symbol, which resembles a set of crosshairs, is used as a navigation marker in music notation, comparable to the dal segno sign. It is used when the exit from a repeated part is within that section rather than at the conclusion of the section. For example, let's say that there is a passage that repeats twice between measures 5 and 7. In this case, the coda sign would be used on measure 6 because that is where the second repetition ends.
The term "coda" comes from the Latin word for "tail." This refers to the fact that a piece of music with many repetitions will often have a short final section called the coda. The coda is usually based on elements found in the original piece of music and sometimes includes new material. For example, if a fugue has several repeats, then the coda would typically contain some variation on the subject matter found in the first few bars of each repeat.
The coda can be used at the end of a movement or section of a work. It is most commonly used at the end of a symphony or other large work. It allows the composer to bring the work to a close without repeating the main theme, which would be tedious. Instead, he or she can use all sorts of interesting ideas from the original composition in the coda to keep the listener interested.