Cadences
In the same way that a period marks the pause at the end of a sentence, with the completion of a whole thought,
harmonic Cadences (usually a two-chord progression) are used to convey the completion of one musical idea
and the pause before the next musical idea begins. A Cadence can precede the kind of pause which occurs
as a temporary resting place– like a question which calls for an answer, many phrases leave a listener with an
expectation of hearing a musical “answer.” A Cadence can also precede a strong, definite stopping point– the end
of a section or the end of a song, it gives the feeling of arriving at the ultimate destination.
AUTHENTIC CADENCES
Authentic Cadences are the most common progressions used to complete musical phrases and endings.
There are two types of Authentic Cadences– Perfect and Imperfect.
#
&#
&#
?#
&
&#
?
?#
?#
&#
&#
?#
&
&#
?
?#
?#
&#
&#
?
&#
&#
?
?#
?#
&#
&#
?#
&
&
?#
?#
?#
&#
&#
?#
&
&#
?
444
44
44
44
44
44
44
44
44
44
44
44
˙
˙˙
˙˙
˙˙
˙˙I
˙I
˙I
˙˙
˙˙I
˙˙
˙˙I
˙I
˙I
˙˙
˙˙I
˙˙
˙ œ œœ
˙˙ œ œ
˙˙ œœ œœœ
˙˙ œœ œœœ
˙˙I œœI^ œœii^
˙I œI^ œii^
˙I œœI^ œœœii^
˙˙ œ œ
˙˙I œœI^ œœœii^
˙˙ œœ œœœ
˙˙I œœI^ œœii^
˙I œI^ œii^
˙I œœ œI^ œœ œii^
I œ I^ œ ii^
œ œœœ
œœ œœ
œœ œœ
I^ ii^
œI^ œii^
œœI^ œœœii^
œœI^ œii^
œœ œœ
œœ œ
œœ œ
œii œœI^
œœ œ
œœii œœI^
œœii œœI^
œœii œœœI^
œœ œœœ
œ œ
˙˙
˙˙
˙˙
˙˙
˙˙
˙˙
vi
˙˙
vi
vi
˙˙
vi
˙˙
˙˙
˙˙
˙˙
˙˙
vi
˙˙
vi
˙˙vi
˙˙vi
˙˙
˙˙
˙˙
˙˙
vi
˙˙
vi
vi
˙˙
vi
˙˙˙
˙˙˙
˙˙
˙ii^
˙˙ii^
˙˙˙ii^
˙˙ii^
˙˙
˙˙
˙
œœ
œœ
œœ
œœ
œœ
œii
œii
œœii
œœii
œœ
œœ
œœ
œii
œii
œii
˙
# ˙˙ ii
# ˙˙˙
# ˙˙˙
#V‡/V
˙˙
˙
V‡/V
˙˙˙
V‡/V
V‡/V
˙˙
˙˙
˙˙
IV
˙˙
IV
˙˙
˙˙IV
˙˙IV
˙˙
˙˙
˙
U
ww
œœ U
ww
œœ U
U
ww
œœ U
œœ U
ww
ww
œœ U
œœ wI
V
wI
œœ U
V
U
wI
œœ U
V
ww
œ U
V
œœ U
wwI
œœ U
ww
U
œ U
wwI
V‡
œœ U
V‡
œœ UwI
V‡ U
wwwI
V‡ U
wwI
U
ww
U
ww
U
ww
U
ww
V
U
ww
V
U
V
ww
U
V
ww
U
ww
U
ww
U
wwI
U
wI
U
wI
U
wwI
U
U
ww
U
U
ww
The Perfect Authentic Cadence
consists of a V:I chord progression, with 2 conditions:
1). Both chords must be in Root Position
(having the Root as their lowest note)
2). The I chord must use the Root as its highest note.
V7:I may also be used in a Perfect Authentic Cadence.
The Imperfect Authentic Cadence
also consists of a V:I chord progression where any of
the conditions above are not met. This creates a less final
sound than the Perfect Authentic Cadence.
The Half Cadence
is any cadence which ends on the V chord. It may be
preceded by I, ii, V/V, or IV. The I6₄ chord is also an
effective choice for preceding the V chord in the
Half Cadence (see Cadential 6/4). Half Cadences are
considered weak pauses which call for continuation.
The Plagal Cadence
the IV:I cadence is also known as the ‘Amen Cadence’
because of its frequent use as the setting for ‘Amen’
following hymns.
?#
#
&
#
&
?#
?#
#
&
#
&
?#
?#
˙
˙I
˙
˙I
˙
˙
˙
˙
˙I
˙
44I
444
4
44
˙
˙
˙ii^
œ œ
œœii œœI^
œœ
œœ
œœ
œI^
ii
˙
˙
˙
˙
˙
˙I
˙
I
I^
œœ
œœ
œ
œ
œii^
I^
œœ
œœ
œœ
œI^
I^
ii^
˙˙
˙˙
˙
˙
˙I^4
˙
˙˙
IV
ii^
œœ
œœ
œ
œ
œii^
ii^
I^4
˙˙
˙˙
˙
V‡
˙
V‡
˙˙
˙˙
˙
V
˙
IV
˙˙
˙˙
˙
˙
˙I^4
I^4
V
U
ww
wI
UI
w
U
w
ww
U
w
U
ww
vi
wU
vi
ww
U
U
ww
U
ww
wI
I
The Deceptive Cadence
ends on anything other than the I or V chord. Usually,
this is a movement from the Vor V7 to vi. (Other
destinations may include ii, iii, IV, fvii, vii°.)
The Cadential 6/4
typically a 3 chord progression, I6₄:V:I, beginning
with a 2nd inversion I chord. In this context, the I6₄ has
a sound which is closer to Dominant than Tonic.
The Cadential 6/4 progression in Chord notation is:
1
5:5:1
The I6₄ chord may also be an effective beginning to a
Half Cadence, I6₄:V.
Analyze the Last Chord
ENDS on I
ENDS on V
Authentic Cadences
Plagal Cadence
V:I (or V7:I) Dominant to Tonic
IV:I
The ‘Amen’
Perfect Authentic Imperfect Authentic
Cadence
Cadence
Cadence
• Root is lowest note • B
reaks any condition
in both chords
of the Perfect
Authentic Cadence
• Root is highest
note of I Chord
Subdominant
to Tonic
if Anything Else
Cadential 6/4 Half Cadence Deceptive Cadence
I6₄:V:I
:V
usually V: vi
The I6₄ Chord May be preceded by Also may resolve to
precedes V in I, I6₄, ii, V/V, or IV ii, iii, IV, fvii, vii°
Authentic and
Half Cadences
__________________________________
NAME
Using whole notes (or half notes and a whole note to illustrate the Cadential 6/4) write the Cadence indicated on each staff.
Include aharmonic analysis of the chords beneath the staff.
Perfect Authentic Cadence
&
?
&b
?b
#
&
bbb
Cadential 6/4 Cadence
#
b
Plagal Cadence
&
?#
###
Perfect Authentic Cadence
?#
? bb
b
b
&
Imperfect Authentic Cadence
? bb
Half Cadence
&
&
? ##
Deceptive Cadence
&
##
Plagal Cadence
? ###
##
Half Cadence
&
? ##
Cadential 6/4 Cadence
&b
?b