Episode 19 walks you through the two types of cadences, conclusive and inconclusive. Then zoom in on seven examples...
Episode 19 walks you through the two types of cadences, conclusive and inconclusive. Then zoom in on seven examples imperfect authentic (2:53), half (3:05), phrygian half (3:16), deceptive (3:33), picardy (3:48), plagal (4:27) and perfect authentic (4:51).
Question of the day: What is the cadence used in the theme song for the APsolute Recap music theory edition? (5:24)
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Hi and welcome to the APsolute Recap: Music Theory Edition. Today’s episode will recap Cadences
Lets Zoom out:
We’re in Unit 4 - Harmony and Voice Leading I: Chord Function, Cadence, and Phrase
Topic 4.3
Our Big idea is pitch
There are two major types of cadences, or chords that complete a phrase. These cadences have specific names, but it is more important that you first understand their simple purpose. Cadences heard completing a phrase at the end of the music, and those heard completing any other phrase of the music. The difference should be that your ear can tell if the music is ending or continuing.
Lets Zoom in:
Last episode we discussed that harmonic progressions are implied when a soprano and bass line get together.
The bass line should indicate a cadence at the end of each phrase. If it is still the middle of the piece, then you should observe an inconclusive cadence, such as imperfect authentic, half, Phygian half, or deceptive. If it is the end of the piece, then you must observe a conclusive cadence, such as picardy third, plagal or perfect authentic.
If you’re having difficulties remembering the difference between imperfect (midi sound clip #4) and perfect authentic (midi sound clip #5), just think of an uptight soprano feeling their part is only perfect if they end the song on the tonic pitch. And I can say that because I am a soprano.
Here is an example of each type of cadence:
An Imperfect authentic cadence is V-I chord, but the soprano does not get to shine with glory. Both chords can be an inversion. (midi clip #5)
A Half Cadence is any chord and then V. One example could be ii-V (midi sound clip #3)
A Phrygian half cadence is iv6-V and only happens in minor. The bass line naturally has to descend a half step which alludes to phrygian mode. (midi sound clip #6)
A Deceptive Cadence is V to any other chord . Think about how your ear would be expecting the phrase to end on the tonic chord, and you are deceived. This example is V-VI. (midi sound clip #2)
A Picardy third, or picardy cadence is any minor chord to major I, and only happens in music in a minor key. The word “picart” in french refers to a sharp. That symbol was often used to resolve the piece in a major chord instead of the expected minor chord. Picardy thirds are often used to end the music with a more uplifting mood. This can be used as a conclusive and inconclusive cadence. Picardy thirds are used by musicians like Bach and The Beatles. This example will be minor v to major I. (Instrument sound clip #1)
A Plagal cadence is, IV-I (midi sound clip #1), think “Amen” (https://www.youtube.com/watch?v=tyPEohF6qq8 at 5:10)
A Perfect authentic cadence is, V-I and the soprano gets the tonic note, and both are in root position (midi sound clip #4).
To recap……
There are seven commonly used cadences: imperfect authentic, half, phrygian half, deceptive, picardy, plagal and perfect authentic. Cadences are harmonies used to end a phrase in the middle of music or to conclusively end the piece of music.
Coming up next on the Apsolute RecAP Music Theory Edition: Soprano-Bass Counterpoint
Today’s Question of the day is about cadences
Question: What is the cadence used in the end of the theme song for the APsolute Recap music theory edition?