Can we have a perfect cadence in a minor key?












3















I understand that, at least in the context of using a major scale, a perfect cadence is V-I. That is, if I were playing a piece in C major, I could play a chord similiar to the G major triad followed by a chord similar to the C major triad.*



What about in a minor key? If my piece is in the key of A minor, would I achieve a perfect cadence by playing an E major chord followed by an A major chord? Or would I instead have to play an E minor chord followed by an A minor chord?





Footnotes:



*I know that some theorists say that its not a perfect cadence unless the highest note of the I chord is the tonic note. For my purposes, however, I'm not using that convention.










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    I understand that, at least in the context of using a major scale, a perfect cadence is V-I. That is, if I were playing a piece in C major, I could play a chord similiar to the G major triad followed by a chord similar to the C major triad.*



    What about in a minor key? If my piece is in the key of A minor, would I achieve a perfect cadence by playing an E major chord followed by an A major chord? Or would I instead have to play an E minor chord followed by an A minor chord?





    Footnotes:



    *I know that some theorists say that its not a perfect cadence unless the highest note of the I chord is the tonic note. For my purposes, however, I'm not using that convention.










    share|improve this question









    New contributor




    Pascal's Wager is a new contributor to this site. Take care in asking for clarification, commenting, and answering.
    Check out our Code of Conduct.























      3












      3








      3








      I understand that, at least in the context of using a major scale, a perfect cadence is V-I. That is, if I were playing a piece in C major, I could play a chord similiar to the G major triad followed by a chord similar to the C major triad.*



      What about in a minor key? If my piece is in the key of A minor, would I achieve a perfect cadence by playing an E major chord followed by an A major chord? Or would I instead have to play an E minor chord followed by an A minor chord?





      Footnotes:



      *I know that some theorists say that its not a perfect cadence unless the highest note of the I chord is the tonic note. For my purposes, however, I'm not using that convention.










      share|improve this question









      New contributor




      Pascal's Wager is a new contributor to this site. Take care in asking for clarification, commenting, and answering.
      Check out our Code of Conduct.












      I understand that, at least in the context of using a major scale, a perfect cadence is V-I. That is, if I were playing a piece in C major, I could play a chord similiar to the G major triad followed by a chord similar to the C major triad.*



      What about in a minor key? If my piece is in the key of A minor, would I achieve a perfect cadence by playing an E major chord followed by an A major chord? Or would I instead have to play an E minor chord followed by an A minor chord?





      Footnotes:



      *I know that some theorists say that its not a perfect cadence unless the highest note of the I chord is the tonic note. For my purposes, however, I'm not using that convention.







      theory chords cadence






      share|improve this question









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      Pascal's Wager is a new contributor to this site. Take care in asking for clarification, commenting, and answering.
      Check out our Code of Conduct.











      share|improve this question









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      share|improve this question




      share|improve this question








      edited yesterday









      Richard

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          3 Answers
          3






          active

          oldest

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          7














          For starters, we can call this cadence an authentic cadence, since by definition that is understood to be a V–I motion. The highest note distinguishes between perfect and imperfect authentic cadences.



          With that said, an authentic cadence is simply a root-position dominant moving to a root-position tonic. Whether tonic is major or minor will not affect the quality of the cadence.



          In fact, the quality of the tonic chord can be opposite of what you expect and still be considered a perfect authentic cadence. This is pretty intuitive in minor; ending on a major tonic almost makes the cadence more final. But even in major, if we suddenly cadence onto a minor tonic, this is still a perfect authentic cadence. (Although we'd certainly want to clarify that it's attenuated in some way with the unexpected shift to minor.)






          share|improve this answer



















          • 2





            'Imperfect authentic' cadence gets dangerously close to the UK 'imperfect cadence', which is the reverse of our 'perfect' cadence, i.e. I>V. Confusing, init?

            – Tim
            yesterday



















          6














          Americans seem to call a 'Perfect cadence' an 'Authentic cadence'. And there's this new thing a 'Perfect Authentic cadence'. OK, whatever. Dominant to tonic. Perfect (or Authentic) cadence.



          This is a Common Practice, Functional Harmony thing. A world where minor scales are Harmonic (at cadence points, at any rate), dominant chords are major and thus include the leading note. But tonics can be minor. The urge to 'regularise' a final cadence in a minor key with a Tierce di Picardie was not always followed!



          So, G7 - C is a Perfect cadence. So is E7 - Am. And we don't have to change that to E7 - A in order to make it one.



          Em - Am does happen, and it has every right to be considered some sort of a cadence. But it isn't a Perfect one.






          share|improve this answer



















          • 3





            I have music theory books written in the 1970s that teach the “perfect authentic cadence”. I’m not sure how old the term is beyond that but I’m not convinced it’s “new”.

            – Todd Wilcox
            yesterday






          • 2





            @ToddWilcox - probably not that new, but certainly U.S. based. In U.K. it's not a term used often, in fact, in exams, the four main cadences are the only ones used: perfect, imperfect, interrupted and plagal. Not sure, but U.S. most likely don't use any of those terms!

            – Tim
            yesterday






          • 2





            @Tim I was taught all of those terms. In the U.S.

            – Todd Wilcox
            yesterday













          • A book called Woodruff’s Comprehensive Music Course from 1899 has a section on the “perfect authentic cadence”. It does appear to be an American book.

            – Todd Wilcox
            yesterday











          • @ToddWilcox - it would be good to have a list of all cadences, to use as a reference point.

            – Tim
            yesterday



















          0














          Yes. It is possible to have a perfect cadence in a minor key. The final chord needn't be major: in the key of a minor, the chords E major followed by a minor are a V-i cadence, which is a perfect cadence.



          (It doesn't matter what notes are on the tops of either of the chords.)






          share|improve this answer























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            3 Answers
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            active

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            3 Answers
            3






            active

            oldest

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            active

            oldest

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            active

            oldest

            votes









            7














            For starters, we can call this cadence an authentic cadence, since by definition that is understood to be a V–I motion. The highest note distinguishes between perfect and imperfect authentic cadences.



            With that said, an authentic cadence is simply a root-position dominant moving to a root-position tonic. Whether tonic is major or minor will not affect the quality of the cadence.



            In fact, the quality of the tonic chord can be opposite of what you expect and still be considered a perfect authentic cadence. This is pretty intuitive in minor; ending on a major tonic almost makes the cadence more final. But even in major, if we suddenly cadence onto a minor tonic, this is still a perfect authentic cadence. (Although we'd certainly want to clarify that it's attenuated in some way with the unexpected shift to minor.)






            share|improve this answer



















            • 2





              'Imperfect authentic' cadence gets dangerously close to the UK 'imperfect cadence', which is the reverse of our 'perfect' cadence, i.e. I>V. Confusing, init?

              – Tim
              yesterday
















            7














            For starters, we can call this cadence an authentic cadence, since by definition that is understood to be a V–I motion. The highest note distinguishes between perfect and imperfect authentic cadences.



            With that said, an authentic cadence is simply a root-position dominant moving to a root-position tonic. Whether tonic is major or minor will not affect the quality of the cadence.



            In fact, the quality of the tonic chord can be opposite of what you expect and still be considered a perfect authentic cadence. This is pretty intuitive in minor; ending on a major tonic almost makes the cadence more final. But even in major, if we suddenly cadence onto a minor tonic, this is still a perfect authentic cadence. (Although we'd certainly want to clarify that it's attenuated in some way with the unexpected shift to minor.)






            share|improve this answer



















            • 2





              'Imperfect authentic' cadence gets dangerously close to the UK 'imperfect cadence', which is the reverse of our 'perfect' cadence, i.e. I>V. Confusing, init?

              – Tim
              yesterday














            7












            7








            7







            For starters, we can call this cadence an authentic cadence, since by definition that is understood to be a V–I motion. The highest note distinguishes between perfect and imperfect authentic cadences.



            With that said, an authentic cadence is simply a root-position dominant moving to a root-position tonic. Whether tonic is major or minor will not affect the quality of the cadence.



            In fact, the quality of the tonic chord can be opposite of what you expect and still be considered a perfect authentic cadence. This is pretty intuitive in minor; ending on a major tonic almost makes the cadence more final. But even in major, if we suddenly cadence onto a minor tonic, this is still a perfect authentic cadence. (Although we'd certainly want to clarify that it's attenuated in some way with the unexpected shift to minor.)






            share|improve this answer













            For starters, we can call this cadence an authentic cadence, since by definition that is understood to be a V–I motion. The highest note distinguishes between perfect and imperfect authentic cadences.



            With that said, an authentic cadence is simply a root-position dominant moving to a root-position tonic. Whether tonic is major or minor will not affect the quality of the cadence.



            In fact, the quality of the tonic chord can be opposite of what you expect and still be considered a perfect authentic cadence. This is pretty intuitive in minor; ending on a major tonic almost makes the cadence more final. But even in major, if we suddenly cadence onto a minor tonic, this is still a perfect authentic cadence. (Although we'd certainly want to clarify that it's attenuated in some way with the unexpected shift to minor.)







            share|improve this answer












            share|improve this answer



            share|improve this answer










            answered yesterday









            RichardRichard

            43.7k7102187




            43.7k7102187








            • 2





              'Imperfect authentic' cadence gets dangerously close to the UK 'imperfect cadence', which is the reverse of our 'perfect' cadence, i.e. I>V. Confusing, init?

              – Tim
              yesterday














            • 2





              'Imperfect authentic' cadence gets dangerously close to the UK 'imperfect cadence', which is the reverse of our 'perfect' cadence, i.e. I>V. Confusing, init?

              – Tim
              yesterday








            2




            2





            'Imperfect authentic' cadence gets dangerously close to the UK 'imperfect cadence', which is the reverse of our 'perfect' cadence, i.e. I>V. Confusing, init?

            – Tim
            yesterday





            'Imperfect authentic' cadence gets dangerously close to the UK 'imperfect cadence', which is the reverse of our 'perfect' cadence, i.e. I>V. Confusing, init?

            – Tim
            yesterday











            6














            Americans seem to call a 'Perfect cadence' an 'Authentic cadence'. And there's this new thing a 'Perfect Authentic cadence'. OK, whatever. Dominant to tonic. Perfect (or Authentic) cadence.



            This is a Common Practice, Functional Harmony thing. A world where minor scales are Harmonic (at cadence points, at any rate), dominant chords are major and thus include the leading note. But tonics can be minor. The urge to 'regularise' a final cadence in a minor key with a Tierce di Picardie was not always followed!



            So, G7 - C is a Perfect cadence. So is E7 - Am. And we don't have to change that to E7 - A in order to make it one.



            Em - Am does happen, and it has every right to be considered some sort of a cadence. But it isn't a Perfect one.






            share|improve this answer



















            • 3





              I have music theory books written in the 1970s that teach the “perfect authentic cadence”. I’m not sure how old the term is beyond that but I’m not convinced it’s “new”.

              – Todd Wilcox
              yesterday






            • 2





              @ToddWilcox - probably not that new, but certainly U.S. based. In U.K. it's not a term used often, in fact, in exams, the four main cadences are the only ones used: perfect, imperfect, interrupted and plagal. Not sure, but U.S. most likely don't use any of those terms!

              – Tim
              yesterday






            • 2





              @Tim I was taught all of those terms. In the U.S.

              – Todd Wilcox
              yesterday













            • A book called Woodruff’s Comprehensive Music Course from 1899 has a section on the “perfect authentic cadence”. It does appear to be an American book.

              – Todd Wilcox
              yesterday











            • @ToddWilcox - it would be good to have a list of all cadences, to use as a reference point.

              – Tim
              yesterday
















            6














            Americans seem to call a 'Perfect cadence' an 'Authentic cadence'. And there's this new thing a 'Perfect Authentic cadence'. OK, whatever. Dominant to tonic. Perfect (or Authentic) cadence.



            This is a Common Practice, Functional Harmony thing. A world where minor scales are Harmonic (at cadence points, at any rate), dominant chords are major and thus include the leading note. But tonics can be minor. The urge to 'regularise' a final cadence in a minor key with a Tierce di Picardie was not always followed!



            So, G7 - C is a Perfect cadence. So is E7 - Am. And we don't have to change that to E7 - A in order to make it one.



            Em - Am does happen, and it has every right to be considered some sort of a cadence. But it isn't a Perfect one.






            share|improve this answer



















            • 3





              I have music theory books written in the 1970s that teach the “perfect authentic cadence”. I’m not sure how old the term is beyond that but I’m not convinced it’s “new”.

              – Todd Wilcox
              yesterday






            • 2





              @ToddWilcox - probably not that new, but certainly U.S. based. In U.K. it's not a term used often, in fact, in exams, the four main cadences are the only ones used: perfect, imperfect, interrupted and plagal. Not sure, but U.S. most likely don't use any of those terms!

              – Tim
              yesterday






            • 2





              @Tim I was taught all of those terms. In the U.S.

              – Todd Wilcox
              yesterday













            • A book called Woodruff’s Comprehensive Music Course from 1899 has a section on the “perfect authentic cadence”. It does appear to be an American book.

              – Todd Wilcox
              yesterday











            • @ToddWilcox - it would be good to have a list of all cadences, to use as a reference point.

              – Tim
              yesterday














            6












            6








            6







            Americans seem to call a 'Perfect cadence' an 'Authentic cadence'. And there's this new thing a 'Perfect Authentic cadence'. OK, whatever. Dominant to tonic. Perfect (or Authentic) cadence.



            This is a Common Practice, Functional Harmony thing. A world where minor scales are Harmonic (at cadence points, at any rate), dominant chords are major and thus include the leading note. But tonics can be minor. The urge to 'regularise' a final cadence in a minor key with a Tierce di Picardie was not always followed!



            So, G7 - C is a Perfect cadence. So is E7 - Am. And we don't have to change that to E7 - A in order to make it one.



            Em - Am does happen, and it has every right to be considered some sort of a cadence. But it isn't a Perfect one.






            share|improve this answer













            Americans seem to call a 'Perfect cadence' an 'Authentic cadence'. And there's this new thing a 'Perfect Authentic cadence'. OK, whatever. Dominant to tonic. Perfect (or Authentic) cadence.



            This is a Common Practice, Functional Harmony thing. A world where minor scales are Harmonic (at cadence points, at any rate), dominant chords are major and thus include the leading note. But tonics can be minor. The urge to 'regularise' a final cadence in a minor key with a Tierce di Picardie was not always followed!



            So, G7 - C is a Perfect cadence. So is E7 - Am. And we don't have to change that to E7 - A in order to make it one.



            Em - Am does happen, and it has every right to be considered some sort of a cadence. But it isn't a Perfect one.







            share|improve this answer












            share|improve this answer



            share|improve this answer










            answered yesterday









            Laurence PayneLaurence Payne

            36.7k1671




            36.7k1671








            • 3





              I have music theory books written in the 1970s that teach the “perfect authentic cadence”. I’m not sure how old the term is beyond that but I’m not convinced it’s “new”.

              – Todd Wilcox
              yesterday






            • 2





              @ToddWilcox - probably not that new, but certainly U.S. based. In U.K. it's not a term used often, in fact, in exams, the four main cadences are the only ones used: perfect, imperfect, interrupted and plagal. Not sure, but U.S. most likely don't use any of those terms!

              – Tim
              yesterday






            • 2





              @Tim I was taught all of those terms. In the U.S.

              – Todd Wilcox
              yesterday













            • A book called Woodruff’s Comprehensive Music Course from 1899 has a section on the “perfect authentic cadence”. It does appear to be an American book.

              – Todd Wilcox
              yesterday











            • @ToddWilcox - it would be good to have a list of all cadences, to use as a reference point.

              – Tim
              yesterday














            • 3





              I have music theory books written in the 1970s that teach the “perfect authentic cadence”. I’m not sure how old the term is beyond that but I’m not convinced it’s “new”.

              – Todd Wilcox
              yesterday






            • 2





              @ToddWilcox - probably not that new, but certainly U.S. based. In U.K. it's not a term used often, in fact, in exams, the four main cadences are the only ones used: perfect, imperfect, interrupted and plagal. Not sure, but U.S. most likely don't use any of those terms!

              – Tim
              yesterday






            • 2





              @Tim I was taught all of those terms. In the U.S.

              – Todd Wilcox
              yesterday













            • A book called Woodruff’s Comprehensive Music Course from 1899 has a section on the “perfect authentic cadence”. It does appear to be an American book.

              – Todd Wilcox
              yesterday











            • @ToddWilcox - it would be good to have a list of all cadences, to use as a reference point.

              – Tim
              yesterday








            3




            3





            I have music theory books written in the 1970s that teach the “perfect authentic cadence”. I’m not sure how old the term is beyond that but I’m not convinced it’s “new”.

            – Todd Wilcox
            yesterday





            I have music theory books written in the 1970s that teach the “perfect authentic cadence”. I’m not sure how old the term is beyond that but I’m not convinced it’s “new”.

            – Todd Wilcox
            yesterday




            2




            2





            @ToddWilcox - probably not that new, but certainly U.S. based. In U.K. it's not a term used often, in fact, in exams, the four main cadences are the only ones used: perfect, imperfect, interrupted and plagal. Not sure, but U.S. most likely don't use any of those terms!

            – Tim
            yesterday





            @ToddWilcox - probably not that new, but certainly U.S. based. In U.K. it's not a term used often, in fact, in exams, the four main cadences are the only ones used: perfect, imperfect, interrupted and plagal. Not sure, but U.S. most likely don't use any of those terms!

            – Tim
            yesterday




            2




            2





            @Tim I was taught all of those terms. In the U.S.

            – Todd Wilcox
            yesterday







            @Tim I was taught all of those terms. In the U.S.

            – Todd Wilcox
            yesterday















            A book called Woodruff’s Comprehensive Music Course from 1899 has a section on the “perfect authentic cadence”. It does appear to be an American book.

            – Todd Wilcox
            yesterday





            A book called Woodruff’s Comprehensive Music Course from 1899 has a section on the “perfect authentic cadence”. It does appear to be an American book.

            – Todd Wilcox
            yesterday













            @ToddWilcox - it would be good to have a list of all cadences, to use as a reference point.

            – Tim
            yesterday





            @ToddWilcox - it would be good to have a list of all cadences, to use as a reference point.

            – Tim
            yesterday











            0














            Yes. It is possible to have a perfect cadence in a minor key. The final chord needn't be major: in the key of a minor, the chords E major followed by a minor are a V-i cadence, which is a perfect cadence.



            (It doesn't matter what notes are on the tops of either of the chords.)






            share|improve this answer




























              0














              Yes. It is possible to have a perfect cadence in a minor key. The final chord needn't be major: in the key of a minor, the chords E major followed by a minor are a V-i cadence, which is a perfect cadence.



              (It doesn't matter what notes are on the tops of either of the chords.)






              share|improve this answer


























                0












                0








                0







                Yes. It is possible to have a perfect cadence in a minor key. The final chord needn't be major: in the key of a minor, the chords E major followed by a minor are a V-i cadence, which is a perfect cadence.



                (It doesn't matter what notes are on the tops of either of the chords.)






                share|improve this answer













                Yes. It is possible to have a perfect cadence in a minor key. The final chord needn't be major: in the key of a minor, the chords E major followed by a minor are a V-i cadence, which is a perfect cadence.



                (It doesn't matter what notes are on the tops of either of the chords.)







                share|improve this answer












                share|improve this answer



                share|improve this answer










                answered 9 hours ago









                Rosie FRosie F

                1,441314




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                    Старые Смолеговицы Содержание История | География | Демография | Достопримечательности | Примечания | НавигацияHGЯOLHGЯOL41 206 832 01641 606 406 141Административно-территориальное деление Ленинградской области«Переписная оброчная книга Водской пятины 1500 года», С. 793«Карта Ингерманландии: Ивангорода, Яма, Копорья, Нотеборга», по материалам 1676 г.«Генеральная карта провинции Ингерманландии» Э. Белинга и А. Андерсина, 1704 г., составлена по материалам 1678 г.«Географический чертёж над Ижорскою землей со своими городами» Адриана Шонбека 1705 г.Новая и достоверная всей Ингерманландии ланткарта. Грав. А. Ростовцев. СПб., 1727 г.Топографическая карта Санкт-Петербургской губернии. 5-и верстка. Шуберт. 1834 г.Описание Санкт-Петербургской губернии по уездам и станамСпецкарта западной части России Ф. Ф. Шуберта. 1844 г.Алфавитный список селений по уездам и станам С.-Петербургской губернииСписки населённых мест Российской Империи, составленные и издаваемые центральным статистическим комитетом министерства внутренних дел. XXXVII. Санкт-Петербургская губерния. По состоянию на 1862 год. СПб. 1864. С. 203Материалы по статистике народного хозяйства в С.-Петербургской губернии. Вып. IX. Частновладельческое хозяйство в Ямбургском уезде. СПб, 1888, С. 146, С. 2, 7, 54Положение о гербе муниципального образования Курское сельское поселениеСправочник истории административно-территориального деления Ленинградской области.Топографическая карта Ленинградской области, квадрат О-35-23-В (Хотыницы), 1930 г.АрхивированоАдминистративно-территориальное деление Ленинградской области. — Л., 1933, С. 27, 198АрхивированоАдминистративно-экономический справочник по Ленинградской области. — Л., 1936, с. 219АрхивированоАдминистративно-территориальное деление Ленинградской области. — Л., 1966, с. 175АрхивированоАдминистративно-территориальное деление Ленинградской области. — Лениздат, 1973, С. 180АрхивированоАдминистративно-территориальное деление Ленинградской области. — Лениздат, 1990, ISBN 5-289-00612-5, С. 38АрхивированоАдминистративно-территориальное деление Ленинградской области. — СПб., 2007, с. 60АрхивированоКоряков Юрий База данных «Этно-языковой состав населённых пунктов России». Ленинградская область.Административно-территориальное деление Ленинградской области. — СПб, 1997, ISBN 5-86153-055-6, С. 41АрхивированоКультовый комплекс Старые Смолеговицы // Электронная энциклопедия ЭрмитажаПроблемы выявления, изучения и сохранения культовых комплексов с каменными крестами: по материалам работ 2016-2017 гг. в Ленинградской области