The Harmonic Cadences
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1music theory for musicians and normal people by toby w. rush
The Harmonic Cadences
A cadence is generally considered to be the
last two chords of a phrase, section or piece.
there are four types of cadences, each with
their own specific requirements and variations.
an authentic cadence consists of a dominant function chord (v or vii) moving to tonic.
to be considered a perfect authentic cadence,
a cadence must meet all of the following criteria:
*
it must use a v chord
if the cadence
(not a vii)
doesn’t meet
*
both chords must be
all of those
in root position
criteria, it’s
*
considered to
the soprano must
be an
end on the tonic
imperfect
*
the soprano must
authentic
move by step
cadence!
6
6
V
I
vii°
I
V
I
G:
G:
G:
4
a plagal cadence consists of a subdominant function chord (iv or ii) moving to tonic.
to be considered a perfect plagal cadence,
a cadence must meet all of the following criteria:
*
it must use a iv chord
if the cadence
(not a ii)
doesn’t meet
*
both chords must be
all of those
in root position
criteria, it’s
*
considered to
the soprano must
be an
end on the tonic
imperfect
*
the soprano must
plagal
keep the common tone
cadence!
6
6
G:
IV
I
G:
IV
I
G:
ii
I
a half cadence is any cadence that ends on the dominant chord (v).
a specific type of half cadence
is the phrygian cadence, which
must meet the following criteria:
* *
it occurs only in minor
it uses a iv chord moving to v
*
the soprano and bass move
by step in contrary motion
*
6
the soprano and bass both
G:
I
V
e:
iv
V
e:
iv
V
end on the fifth scale degree
a deceptive cadence is a cadence where the dominant chord (V) resolves to something
other than tonic... almost always the submediant chord (vi).
really, it’s the psych-out cadence, in that
you expect it to resolve to tonic, but it doesn’t.
and, in fact, it’s more common to see this in
the middle of the phrase rather than the end ...
where you might call it a “cadence-like structure”!
G:
V
vi
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