3/19/13 12:52 AMHarmonic Cadences

Page 1 of 2http://www3.northern.edu/wieland/theory/harmony/cadences.htm

Harmonic Cadences Cadence Worksheet Theory Things William Wieland

As tonal goals, harmonic cadences resolve to stable chords, generally root position major orminor triads.

Authentic V (7) I V (7)

i (in minor)vii°

6 – I (vii°

6 –i)

This is the most importantcadence.Resolve 7 to 8 and 4 to 3.

If a musical phrase is asentence,an authentic cadence is aperiod.

Perfect Authentic (2criteria) • soprano ends on 1 • bass goes 5 to 1Imperfect Authentic – allothers(inverted chords or vii°substituted for V)

All cadences infunctionaltonality refer to V - I.

(The plagal cadenceisan elaboration oftonic.)

Half Ends on V

I –V,

ii –V,

IV –V

(andmore)

i –V,

ii°

6 –V,

iv –V

(inminor)

iv 6 – V

(Phrygian)

A half cadence is a comma, Phrygian Half – bass goes down a half step

Deceptive V (7) vi V (7)

VI (in minor) Rarely V – IV 6

A deceptive cadence may foolyou. Like in an authentic cadence, resolve 7 to 8.

(in minor) Rarely 6

3/19/13 12:52 AMHarmonic Cadences

Page 2 of 2http://www3.northern.edu/wieland/theory/harmony/cadences.htm

Plagal IV – I iv – i ii – Ia.k.a. Amen cadence Often heard after the final authentic cadence.

Authentic Cadence a.k.a. Full Close, Closed Cadence, Final Cadence and Full Cadence

Half Cadence a.k.a. Half Close, Open Cadence, Imperfect Cadence, Semicadence andIncomplete cadence

Deceptive Cadence a.k.a. Avoided Cadence, Broken Cadence, Interrupted Cadence andIrregular Cadence