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Topic: Authentic cadence

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	Cadence (music) - Wikipedia, the free encyclopedia
		An analogy can be made with punctuation, with some weaker cadences acting as commas, indicating a pause or momentary rest, while a stronger cadence will then act as the period, indicating the end of the phrase or musical sentence.
		Cadences are called "weak" or "strong" the more or less final the sensation they create, with the perfect authentic cadence being the strongest type.
		Perfect authentic cadences: V to I, the chords must be in root position, that is the root of the chords must be in the bass, and the root of I must be in the highest voice also
	en.wikipedia.org /wiki/Cadence_(music) (653 words)

	AllRefer.com - cadence (Music: Theory, Forms, And Instruments) - Encyclopedia
		In singing the voice may be raised or lowered, or the singer may execute elaborate variations within the key.
		In instrumental music, with development of the theory of harmony, the cadence became completely dependent on the change of chord.
		If the dominant chord comes before the tonic, the cadence is authentic, or perfect; if the subdominant chord comes before the tonic, the cadence is plagal.
	reference.allrefer.com /encyclopedia/C/cadence.html (209 words)

	Cadences
		A cadence is combination of a certain strong harmonic progressions with a resolution to a strong beat that ends a phrase.
		This cadence is not nearly as conclusive, or final, as an authentic cadence, and is never used to end a tonal work.
		It refers to a common type of cadence that was used in music written in the phrygian mode, but was later frequently used to end the slow middle movement of a concerto, when the composer wished for the final movement to begin without an extended break.
	www.smu.edu /totw/cadences.htm (804 words)

	Harmony: cadences and nonharmonic tones
		A perfect authentic cadence is used to bring a very "finished" feeling into a piece, it is usually put at the end of a major section in the piece.
		The perfect authentic cadence consists of a two chord progression, V-I. What makes this cadence perfect is that both the V chord and the I chord must be in root position (not inverted).
		This type of cadence is not as strong as a perfect authentic cadence, but it still has a very "finished" feeling to it.
	www.fortunecity.com /tinpan/lennon/23/sec4.html (780 words)

	cadences_i_general
		If music consisted only of perfect authentic cadences, it would be rather monotonous, just as dramatic dialogue delivered in the same flat, dull tone of voice without emphasis of any sort is monotonous.
		Distinguishing between mere caesuras and true cadences in a given composition requires sensitivity to style, context and medium- to long-term continuity in the piece as a whole.
		At a cadence, two factors are notable either by their presence or by their absence: melodic closure and harmonic closure.
	www.lsu.edu /faculty/jperry/virtual_textbook/cadences_i_general_.htm (536 words)

	and
		A cadence is a two-chord progression that occurs at the end of a phrase.
		Authentic cadences are often classified as either perfect or imperfect.
		Notice that we have replaced the authentic cadence at the end of the second phrase with a deceptive cadence.
	www.musictheory.net /lessons/xml/id55.xml (397 words)

	Cadence in Music
		Form - Since cadences mark off phrases and sections, form and cadence are very closely connected, and the overall architecture of a piece of music will often indicate where the next cadence is going to be - every eight measures for a certain type of dance, for example.
		Imperfect Cadence - May mean an authentic (V-I) cadence in which the chord is not in root position, or the melody does not end on the tonic.
		Some do not consider a cadence to be completely perfect unless the melody ends on the tonic and both chords are in root position.
	cnx.rice.edu /content/m12402/latest (1026 words)

	Guide to Ear Training: How to Listen (Site not responding. Last check: 2007-10-20)
		These cadences typically are followed by an authentic cadence fairly soon afterward (within the span of a few chords or measures).
		Because deceptive cadences serve to set up a harmonic situation that implies that a cadence is imminent and then thwart the listener's expectations, often they are not accompanied by a sense of repose in other musical perameters.
		Once the cadence types and tonal functions are learned, hearing the harmonic rhythm, the prolongation of the functional categories, and the cadential patterns that break up the musical flow should become easier.
	www-student.furman.edu /users/r/rkelley/eartrain.htm (2920 words)

	Lesson 22- Cadences (Site not responding. Last check: 2007-10-20)
		The two types of cadences demonstrated by the example above are the half cadence (the one in bar 4), and the authentic cadence (the one at the end).
		A Perfect Authentic Cadence (PAC) requires that the V-chord and the I-chord are both root-position chords, with the topmost voice (soprano) ending on the tonic note.
		In the Bb-major cadence, the V-chord is an inversion.
	www.musictheory.halifax.ns.ca /22cadences.html (804 words)

	Music 160A: Cadences
		Cadences are special arrangements of harmonic and melodic events that stand at the ends of musical units (phrases, periods, sections), and are designed to make those units sound more closed or less closed depending on local and larger-scale structural factors.
		Half cadences end on a dominant chord and thus do not signal a harmonic close; on the contrary, they indicate that the current musical unit is incomplete and still under way toward conclusion.
		An authentic cadence is "imperfected" (that is, made less conclusive than a PAC) when one or both of the requirements for a PAC are not met:
	www.music.ucsb.edu /faculty/rothfarb/courses/160A/cadences.html (708 words)

	Dolmetsch Online - Music Theory Online - Chords & Cadences
		To summarize, the perfect cadence is always authentic - it uses a V - I or V - i progression, where both triads are in root position, and the tonic note of the scale is in the highest part.
		The plagal or church cadence replaces the dominant, or dominant 7th chord, with a subdominant chord, that is a chord on the 4th.
		The plagal cadence is usually defined as one whose penult is IV and whose final is I (or whose penult is iv and whose final is i).
	www.dolmetsch.com /musictheory22.htm (1977 words)

	Members Page Journal Index First ...
		A cadence is a harmonic and rhythmic object that resolves tension and ends a musical idea such as a phrase, section, or movement.
		Authentic Cadence: the cadence that resolves to tonic V (or V7)-I (or vii-I, vii being an extension of V, and therefore functioning as a dominant).
		Half Cadence: the cadence that resolves to V. The most common chords that lead to V in the half cadence are I 6/4 and V/V (secondary dominant).
	www.musictheoryresources.com /members/FA_cadence.htm (371 words)

	Summary
		Imperfect authentic cadence- either the third or the fifth in the soprano with the third in the base.
		When a cadence is divided into two equal halves it seems as though there is a cadence in the middle, but that is really just cadential inflection and the real cadence does not come until the end of the phrase.
		Cadence is usually a half-cadence or an authentic cadence.
	www.bsu.edu /web/sapieper/portfolio/Summary.html (7720 words)

	section5 (Site not responding. Last check: 2007-10-20)
		Cadence: The cadence is the nature of the harmonic closure to a phrase.
		The most common type is the authentic cadence, followed by the plagal cadence, the half cadence and finally the deceptive cadence.
		For example, the formula for an authentic cadence is V-I. A plagal cadence ends with IV-I, a half cadence with V, and a deceptive cadence with VI.
	zoo.cs.yale.edu /classes/cs490/99-00b/block.daniel.dab49/section5.html (627 words)

	Music Theory Paper
		This occurs until there is an I-V7-I progression to a perfect authentic cadence in the key of F minor in measure 16.
		This phrase is in C minor, and cadences in measure 50 with a perfect authentic cadence.
		He also gave a sense of clear cadence points in some places, and an overlapping of phrases in other places thus leaving the listener trying to decipher when a phrase begins or ends.
	web.bsu.edu /ksbriel/portfolio/beethoven.html (1008 words)

	iBreatheMusic Forums - why is 1 4 5 a cadence (Site not responding. Last check: 2007-10-20)
		A cadence is the point at which a piece of music is brought to a close.
		The perfect cadence is always authentic - it uses a V - I or V - i progression, but both triads are in root position, and the tonic note of the scale is in the highest part.
		The imperfect cadence is also always authentic, but now the triads are not in root position, and/or the tonic is not in the highest part.
	www.ibreathemusic.com /forums/printthread.php?t=91 (290 words)

	Undergraduate Theory Student Reference Materials (Site not responding. Last check: 2007-10-20)
		The term "Phrygian cadence" describes a cadential formation that was typical of Renaissance polyphony written in the Phrygian mode.
		The term "Phrygian half cadence" describes a cadence that matches the Phrygian cadence in terms of pitch content, but is used as a half cadence.
		A plagal cadence always moves to tonic by retrogressive motion, most typically IV - I. This cadence is weakened by the absence of leading tone resolution to tonic.
	www-student.furman.edu /users/r/rkelley/cadencetypes.htm (587 words)

	Perfect authentic cadence (Site not responding. Last check: 2007-10-20)
		The dominant to tonic progression (V-I) represents the strongest sound of all cadences.
		In the tonality of "C" major, an authentic cadence would be the dominant (V) G major chord (GBD) moving to the tonic (I) C major chord (CEG).
		In a perfect authentic cadence, the dominant chord in root position is followed by that of the tonic in root position, and according to some theorists, the cadence is not "perfect" unless the uppermost voice is the tonic in the final chord.
	www.music.vt.edu /musicdictionary/textp/Perfectauthenticcadence.html (141 words)

	CLASSICAL MUSIC ARCHIVES: Definition of CADENCE
		The term Phrygian cadence is applied by various writers to (i) in major key a cadence ending on the chord of the dominant of relative minor (e.g.
		(1) A ‘mixing’ of the plagal and imperfect cadences, consisting of subdominant-dominant, this being merely the imperfect cadence in one of its commonest forms.
		This is merely the perfect cadence led up to in one of its commonest manners and should not require any special name.
	www.classicalarchives.com /dict/cadence.html (560 words)

	Vocabulary
		Usually ends with a half cadence--or at least with a cadence that is weaker than the cadence at the end of the consequent phrase.
		Normally ends with a cadence that is stronger than the one at the end of the antecedent phrase.
		The cadence of the consequent phrase is normally stronger than the cadence of the antecedent phrase.
	employees.csbsju.edu /bcampbell/vocabula.htm (1142 words)

	Form and Analysis: 02/20/2005 - 02/26/2005
		The first cadence, which is a half cadence, takes place at the end of the third full bar, the second cadence is in bar 8 where a pac occurs in the new key of Bb major.
		It could be argued that there is a cadence is the middle of measure 4 before repeating the opening melodic material again but since this is weakened so much the suspension, it is almost easier not to think of it as a period.
		The first cadence is a PAC in the tonic key of E major and the second cadences modulates to B major.
	depauwform.blogspot.com /2005_02_20_depauwform_archive.html (4746 words)

	Cadences
		In an Imperfect Authentic cadence, either chord is inverted, and/ or the root is not in the Soprano on the tonic chord.
		Occasionally, in a Perfect Authentic cadence, the leading tone may DROP to the fifth of the tonic chord when it is in the Alto or Tenor voices.
		In an Imperfect Plagal cadence, either chord is inverted, and/ or the root is not in the Soprano on the tonic chord.
	www.tpub.com /harmony/9.htm (377 words)

	MTO 8.2: Krebs, Review of Ferris
		8, which Schenker attaches to a beam, is not the one that begins that bar (the V within the authentic cadence), but the one that follows the authentic cadence (the dominant harmony that begins the middle section).
		The fact that there is a cadence before this music does create a break, but because the tonic-prolonging coda flows naturally out of the cadential tonic, the break is not as strong as Ferris would have it.
		Cadences involving outer-voice ^5-^1 parallels are not uncommon, and in a Schenkerian analysis of such a cadence, one could legitimately imply a scale degree ^2 over the dominant.
	www.societymusictheory.org /mto/issues/mto.02.8.2/mto.02.8.2.krebs.html (7892 words)

	MUS 111 Study Guide D
		Cadence: In simplest terms, a cadence is a resting point in a musical phrase.
		A combination to two phrases, with a lesser cadence at the end of the fourth measure and a greater cadence at the end of the eighth measure, is known as a musical period.
		In harmony, a cadence is usually found as the last two chords of a formal structure (phrase or period, e.g.).
	spider.georgetowncollege.edu /music/burnette/MUS111/111d.htm (1502 words)

	You Say You Want a Resolution... : article by David Hodge
		Like the final syllable of a line of metric verse, the cadence is metric in function; at the same time, to continue the analogy, the cadence is always marked by a certain conventional harmonic formula, just as metric verse is ordinarily marked by rhyme.
		Traditionally, a half cadence is used as the first of a pair of phrases, the second of which ending in an authentic cadence.
		It starts out like the authentic cadence in that it begins with the V chord, but then another chord is substituted for the root.
	www.guitarnoise.com /print_article.php?id=27 (3403 words)

	Cadences
		Any cadence involving dominant to tonic motion, e.g., V (V7 or its inverted chord) or viio (viio7 or its inverted chord) to I or I6.
		An authentic cadence that is not perfect because one or both chords is inverted or the soprano does not cadence on the tonic.
		In late Romantic music, sometimes it is found as ii6/5 to I. Often used as a tag following a perfect authentic cadence for the "Amen" of hymns.
	www.music.indiana.edu /som/theory/t511/cadences.html (265 words)

	[No title]
		This chord often preceds the V at a cadence.
		This cadence is in root position, with the tonic in the final soprano (abb.)
		This cadence substitutes vi for the final tonic in an authentic cadence.
	courses.wcupa.edu /abauer/CrosswordIIIq.htm (90 words)

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