5.5 Cadence  (Page 2/2)

Harmonic analysis , form , and cadence in Western music are closely interwoven into a complex subject that can take up an entire course at the college-music-major level. Complicating matters is the fact that there are several competing systems for naming cadences. This introductory course cannot go very deeply into this subject, and so will only touch on the common terms used when referring to cadences. Unfortunately, the various naming systems may use the same terms to mean different things, so even a list of basic terms is a bit confusing.

Some tonal cadence terms

• Authentic - A dominant chord followed by a tonic chord (V-I, or often V7-I).
• Complete Cadence - same as authentic cadence.
• Deceptive Cadence - This refers to times that the music seems to lead up to a cadence, but then doesn't actually land on the expected tonic, and also often does not bring the expected pause in the music. A deceptive cadence is typically in a major key, and is the dominant followed by the submediant (V-vi). This means the substituted chord is the relative minor of the tonic chord.
• False Cadence - Same as deceptive cadence.
• Full Close - Same as authentic cadence.
• Half-cadence - May refer to a cadence that ends on the dominant chord (V). This type of cadence is more common at pause-type cadences than at full-stop ones. OR may have same meaning as plagal cadence.
• Half close - Same as plagal cadence.
• Imperfect Cadence - May refer to an authentic (V-I) cadence in which the chord is not in root position, or the melody does not end on the tonic. OR may mean a cadence that ends on the dominant chord (same as one meaning of half-cadence).
• Interrupted Cadence - Same as deceptive cadence.
• Perfect Cadence - Same as authentic cadence. As its name suggests, this is considered the strongest, most final-sounding cadence. Some do not consider a cadence to be completely perfect unless the melody ends on the tonic and both chords (V and I) are in root position .
• Plagal Cadence - A subdominant chord followed by a tonic chord (IV-I). For many people, this cadence will be familiar as the "Amen" chords at the end of many traditional hymns.
• Semi-cadence - Same possible meanings as half cadence.

You can listen to a few simple cadences here: Perfect Cadence , Plagal Cadence , Half-cadence , Deceptive Cadence . The figure below also shows some very simple forms of some common cadences. The first step in becoming comfortable with cadences is to start identifying them in music that is very familiar to you. Find the pauses and stops in the music. Do a harmonic analysis of the last few chords before each stop, and identify what type of cadence it is. Then see if you can begin to recognize the type of cadence just by listening to the music.

Examples of common cadences

Identify the type of cadence in each excerpt. (Hint: First identify the key and then do a harmonic analysis of the progression.

Notice that the half cadence looks like (and in fact is) a modulation to the dominant. In this very common progression, the dominant seventh of the dominant (which requires an accidental) makes the dominant feel like a very strong resting point, and the piece will continue on in the dominant key for a while, before returning to the tonic key. Also notice the accidental required in the minor key to make the (major) dominant chord.

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