Cadences (Harmonic)

In Western musical theory, a cadence is, "a melodic or harmonic configuration that creates a sense of repose or resolution [finality or pause]." A harmonic cadence is a progression of (at least) two chords that concludes a phrase, section, or piece of music. A rhythmic cadence is a characteristic rhythmic pattern that indicates the end of a phrase. Cadences give phrases a distinctive ending that can, for example, indicate whether the piece is to continue or has concluded. A cadence is labeled more or less "weak" or "strong" depending on its sense of finality. While cadences are usually classified by specific chord or melodic progressions, the use of such progressions does not necessarily constitute a cadencethere must be a sense of closure, as at the end of a phrase. Harmonic rhythm plays an important part in determining where a cadence occurs.

Contents
1. Authentic Cadence 1.1. Perfect 1.2. Imperfect 2. Plagal Cadence 3. Half/Imperfect/Semi Cadence 3.1. Phrygian Half Cadence 3.2. Lydian Cadence 4. Interrupted/Deceptive Cadence

Authentic Cadence
Authentic (also closed or standard) cadence: V to I (or IV - V - I). The V7 can replace the dominant chord in these cadences. The Harvard Concise Dictionary of Music and Musicians says, "This cadence is a microcosm of the tonal system, and is the most direct means of establishing a pitch as tonic. It is virtually obligatory as the final structural cadence of a tonal work." The phrase perfect cadence is sometimes used as a synonym for authentic cadence, but can also have a more precise meaning depending on the chord voicing:

Perfect
The chords are in root position; that is, the roots of both chords are in the bass, and the tonic (the same pitch as root of the final chord) is in the highest voice of the final chord. A PAC is a progression from V to I in major keys, and V to i in minor keys. This is generally the strongest type of cadence and often found at structurally defining moments. "This strong cadence achieves complete harmonic and melodic closure."

Imperfect
The Imperfect Authentic Cadence (IAC) is best divided into three separate categories: 1. Root position IAC: similar to a PAC, but the highest voice is not the tonic ("do" or the root of the tonic chord). 2. Inverted IAC: similar to a PAC, but one or both chords is inverted. 3. Leading tone IAC: the V chord is replaced with the viio/subV chord (but the cadence still ends on I).

Plagal Cadence
IV to I, also known as the "Amen Cadence" because of its frequent setting to the text "Amen" in hymns. William Caplin disputes the existence of plagal cadences in music of the classical era: "An examination of the classical repertory reveals that such a cadence rarely exists. [...] Inasmuch as the progression IV-I cannot confirm a tonality (it lacks any leading-tone resolution), it cannot articulate formal closure Page 1 of 2

[...]. Rather, this progression is normally part of a tonic prolongation serving a variety of formal functions - not, however a cadential one. Most examples of plagal cadences given in textbooks actually represent a postcadential codetta function: that is, the IV-I progression follows an authentic cadence but does not itself create genuine cadential closure." It may be noticed that the plagal cadence, "leaves open the possibility of interpretation as V-I-V" rather than I-IV-I. The term "minor plagal cadence" is used to refer to the iv-I progression. Sometimes a combination of major and minor plagal cadence is used (IV-iv-I); for a progression with similar sonorities, see backdoor progression.

Half/Imperfect/Semi Cadence
Half cadence (or semi-cadence): any cadence ending on V, whether preceded by V of V, ii, IV, or Ior any other chord. Because it sounds incomplete or suspended, the half cadence is considered a weak cadence that calls for continuation.

Phrygian Half Cadence

A half cadence from iv6 to V in minor, so named because the semitonal motion in the bass (flat sixth degree to fifth degree) resembles the semitone heard in the II - I of the ancient (fifteenth century) cadence in the Phrygian mode. Due to its being a survival from modal Renaissance harmony this cadence gives an archaic sound, especially when preceded by v (viv6-V). A characteristic gesture in Baroque music, the Phrygian cadence often concluded a slow movement immediately followed by a faster one.

Lydian Cadence
The Lydian-half cadence is similar to the Phrygian-half, involving iv6-V in the minor. The difference is that in the Lydian-half, the whole iv6 is raised by a semitone- in other words, the Phrygian-half begins with the first chord built on scale degree P4 and the Lydian-half is built on the scale degree 4+ (augmented 4th). The Phrygian cadence ends with the movement from iv6 V of bass (3rd of the chord/scale degree 6m) down by semi-tone bass (the root of the chord/scale degree P5), fifth (scale degree P1) up by whole-tone fifth (scale degree 2M), and the root (scale degree P4) up by whole-step octave (scale degree P1/P8); the Lydian half-cadence ends with the movement from a iv6 (raised by half step) V of bass (3rd of the chord/scale degree 6M) down by whole-tone bass (the root of the chord/scale degree P5), fifth (scale degree 1+) up by half-step fifth (scale degree 2M), and the root (scale degree 4+) up by half-step octave (scale degree P1/P8).

Interrupted/Deceptive Cadence
V to any chord other than I (typically ii, IV6, iv6, vi or VI). The most important irregular resolution, it is most commonly V7-vi in major or V7-VI in minor. This is considered a weak cadence because of the "hanging" (suspended) feel it invokes. One of the most famous examples is in the coda of the Passacaglia and Fugue in C minor, BWV 582 by Johann Sebastian Bach: Bach repeats a chord sequence ending with V over and over, leading the listener to expect resolution to Ionly to be thrown off completely with a fermata on a striking, D-flat major chord in first inversion ( IIthe Neapolitan chord). Following a pregnant pause, the "real" ending commences. At the beginning of the final movement of Gustav Mahler's 9th Symphony, the listener hears a string of many deceptive cadences progressing from V to IV6.

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