Glossary
Authentic Cadence (AC)
A cadence where a V or vii° chord moves to a I or i chord, providing a strong sense of resolution.
Example:
The most common way to end a classical piece is with an Authentic Cadence, firmly establishing the tonic.
Cadence
A harmonic progression that marks the end of a musical phrase, section, or piece, acting like musical punctuation.
Example:
The final two chords of a hymn often form a cadence, signaling the end of the melody.
Conclusive Cadences
Cadences that provide a strong and final sense of resolution, typically used at the end of a piece or major section.
Example:
Both the Perfect Authentic Cadence and the Plagal Cadence are considered conclusive cadences because they offer a sense of completion.
Deceptive Cadence (DC)
A cadence where a V chord moves to a non-tonic chord (often vi or VI), creating a surprising or unresolved feeling.
Example:
Just when you expect a piece to end on the tonic, a Deceptive Cadence might lead to the vi chord, extending the musical journey.
Dominant (V/vii°)
Chords (V or vii°) that create strong tension and lead strongly to the tonic, providing a feeling of resolution.
Example:
The G7 chord in the key of C major is the dominant chord, creating a powerful pull towards the C major tonic.
Half Cadence (HC)
A cadence that ends on a dominant (V) chord, creating a sense of incompleteness or a question.
Example:
Many melodies pause on a Half Cadence before continuing, leaving the listener anticipating the next phrase.
Harmonic progressions
Predictable sequences of chords that create a sense of direction and lead to a harmonic goal, typically the tonic.
Example:
The classic I-IV-V-I sequence is a fundamental harmonic progression that underpins countless popular songs.
Harmonic rhythm
The rate at which chords change in a piece of music.
Example:
A slow ballad might have a leisurely harmonic rhythm, with chords changing every few beats, while a fast rock song might have chords changing on every beat.
Imperfect Authentic Cadence (IAC)
A weaker type of authentic cadence where either the V or I chord is inverted, or the soprano voice ends on a non-tonic note.
Example:
A phrase might conclude with an Imperfect Authentic Cadence if the composer wants a sense of resolution that isn't quite as final.
Inconclusive Cadences
Cadences that are weaker and less final, often suggesting that more music is to follow.
Example:
A Half Cadence or a Deceptive Cadence are examples of inconclusive cadences, leaving the listener wanting more.
Leading tone
Scale degree 7, which is a half step below the tonic and has a very strong melodic pull to resolve upwards to the tonic.
Example:
In the key of A minor, G# is the leading tone, creating a strong desire to resolve to A.
Perfect Authentic Cadence (PAC)
The strongest type of cadence, where both the V and I chords are in root position and the soprano voice ends on the tonic (scale degree 1).
Example:
A powerful and definitive ending to a movement often features a Perfect Authentic Cadence, leaving no doubt about the key.
Picardy Third
A V-I cadence in a minor key where the final tonic chord is major instead of minor, creating a sudden bright sound.
Example:
After a somber piece in C minor, ending with a C major chord instead of C minor is a striking Picardy Third.
Plagal Cadence (PC)
A cadence where a IV or iv chord moves to a I or i chord, often called the 'amen' cadence due to its common use in hymns.
Example:
The 'amen' at the end of a church hymn is a classic example of a Plagal Cadence (IV-I).
Predominant (IV/ii)
Chords (IV or ii) that typically precede dominant chords, setting them up for their resolution to the tonic.
Example:
In a blues progression, the IV chord (subdominant) often acts as a predominant, preparing the listener for the V chord.
Retrogression
Harmonic movement that goes in the opposite direction of typical progressions, often moving away from the tonic.
Example:
A progression like I-V-vi-IV might feel like a retrogression if the expectation was a strong dominant-tonic resolution.
Tendency Tones
Specific scale degrees (like 7 and 2) that have a strong melodic pull to resolve to the tonic (scale degree 1).
Example:
The F# in G major is a tendency tone (scale degree 7) that strongly wants to move up to G.
Tonal music
Music that is organized around a central pitch, called the tonic, to which all other pitches and chords relate.
Example:
A classical symphony in C major is a prime example of tonal music, where C acts as the gravitational center throughout the piece.
Tonic
The central pitch or chord (I or i) in tonal music, serving as the 'home base' and point of resolution.
Example:
In a piece in G major, the G major chord is the tonic, providing a sense of arrival and stability.