Musical Cadences in Music Theory

Study Notes

Types of Musical Cadences

Perfect Authentic Cadence (PAC):
- Progression from dominant (V) to tonic (I), characterized by V-I or V7-I
- Both chords must be in root position with the tonic in the highest voice.
Imperfect Authentic Cadence (IAC):
- Similar progression as PAC but one of the following conditions applies:
  - V chord is not in root position.
  - Final soprano note is not the tonic.
Half Cadence (HC):
- Terminates on the dominant chord (V), often approached from various chords such as I, ii, IV, or V/V.
Plagal Cadence (PC):
- Moves from subdominant (IV/iv) to tonic (I), commonly referred to as the "Amen Cadence".
Deceptive Cadence (DC):
- Dominant chord (V) resolves to a chord other than tonic (I), creating an expectation that is not fulfilled.
- Common substitutes for tonic include vi, IV6, bVI, IV, or V/ii, typically progressing from V to VI.
Root Position IAC:
- A type of Imperfect Authentic Cadence where the melody contains the notes 3 or 5 while ending with V-I.
Inverted IAC:
- At least one of the chords is inverted in the progression V(7) to I.
Leading Tone IAC:
- In this variation, the V chord is substituted with a vii° diminished chord, resulting in a progression of vii° to I.
Types of Imperfect Authentic Cadences (IAC):
- Root Position IAC: Ends with a non-tonic highest voice.
- Inverted IAC: Involving one or more inverted chords.
- Leading Tone IAC: Featuring a vii° diminished chord replacing the dominant.
Cadence Definition:
- A chord progression marking the ending of a phrase, section, or song, characterized by a rhythmic rise and fall.

Description

Test your knowledge on the different types of musical cadences, including Perfect Authentic, Imperfect Authentic, Half, Plagal, and Deceptive cadences. This quiz will challenge your understanding of chord progressions and their characteristics in music theory.