Harmonic Cadences
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Cadence Drill
Cadence Worksheet
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Theory Things
William Wieland
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As tonal goals, harmonic cadences resolve to stable chords, generally root position major or minor triads.
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Authentic
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V | (7) | | I |
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V | (7) | | i | (in minor) |
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This is the most important cadence.
Resolve 7 to 8 and 4 to 3.
If a musical phrase is a sentence,
an authentic cadence is a period.
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Perfect Authentic (2 criteria)
• soprano ends on 1
• bass goes 5 to 1
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Imperfect Authentic – all others
• vii° may substitute for V (above)
• the dominant chord may be inverted
• the soprano may end on 3 or 5
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All cadences in functional tonality refer to V - I. (The plagal cadence is an elaboration of tonic.)
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Half
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I – V, | ii – V, | IV – V, | vi – V |
i – V, | ii° | 6 | – V, | iv – V, | VI – V |
(and more!) |
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The half cadence, a comma,
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(Bass goes down a half step.)
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Deceptive
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V | (7) | | vi |
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V | (7) | | VI | (in minor) |
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A deceptive cadence may fool you. — Like an authentic cadence, resolve 7 to 8.
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Plagal
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IV – I
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a.k.a. Amen cadence — often heard after the final authentic cadence — Plagal on a Bagel
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Authentic Cadence = Full Close, Closed Cadence, Final Cadence, and Full Cadence
Half Cadence = Half Close, Open Cadence, Imperfect Cadence, Semicadence, and Incomplete cadence
Deceptive Cadence = Avoided Cadence, Broken Cadence, Interrupted Cadence, and Irregular Cadence
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