Glossary
Authentic Cadences
Cadences involving a dominant function chord (V or vii°) resolving to the tonic (I), providing a strong sense of resolution.
Example:
Many classical melodies conclude with an Authentic Cadence to firmly establish the home key.
Cadences
Harmonic conclusions of musical phrases that create a sense of resolution, closure, or partial closure.
Example:
A composer uses a series of cadences to structure a sonata, marking the end of each theme and section.
Closure
A sense of finality in a musical phrase or section, often achieved through a strong cadence.
Example:
The final Perfect Authentic Cadence in a symphony provides definitive closure to the entire work.
Deceptive Cadence (DC)
A cadence where the dominant chord (V) resolves to a chord other than the tonic, most commonly the submediant (vi), creating a sense of surprise.
Example:
When a V chord unexpectedly moves to a vi chord instead of the expected I, it's a Deceptive Cadence, often used to extend a phrase.
Half Cadence (HC)
Any cadence that ends on the dominant chord (V), creating a sense of anticipation or a musical question mark.
Example:
A phrase ending on a G major chord in C major would be a Half Cadence, leaving the listener waiting for the resolution.
Imperfect Authentic Cadence (IAC)
A weaker form of authentic cadence where the V or vii° resolves to I, but one or more of the PAC criteria (root position, soprano ending on tonic) are not met.
Example:
A phrase might end with an Imperfect Authentic Cadence if the soprano voice lands on the mediant of the tonic chord, creating a slightly less final feel.
Imperfect Plagal Cadence
A plagal cadence that does not meet all the criteria of a perfect plagal cadence, such as using ii instead of IV, or having chords in inversion.
Example:
A progression from a ii6 chord to a I chord would be considered an Imperfect Plagal Cadence, offering a softer resolution.
Partial Closure
A musical ending that provides a temporary pause or a sense of anticipation rather than a full stop.
Example:
A Half Cadence often creates partial closure, leaving the listener expecting more music to follow.
Perfect Authentic Cadence (PAC)
The strongest and most conclusive cadence, characterized by a V chord resolving to I, both in root position, with the soprano ending on the tonic.
Example:
The 'Hallelujah' chorus famously ends with a powerful Perfect Authentic Cadence, leaving no doubt about the finality.
Perfect Plagal Cadence
A specific type of plagal cadence where a root-position IV chord resolves to a root-position I chord, with the soprano voice keeping the common tonic tone.
Example:
In G major, a C major chord (IV) moving to a G major chord (I) with the soprano holding G would form a Perfect Plagal Cadence.
Phrygian Half Cadence (PHC)
A specific type of half cadence found only in minor keys, characterized by a iv6 chord moving to a V chord, with the bass moving down by a half step.
Example:
In A minor, a D minor chord in first inversion (iv6) moving to an E major chord (V) creates the distinctive sound of a Phrygian Half Cadence.
Picardy Third
A major tonic chord (I) used at the very end of a piece that is otherwise in a minor key.
Example:
After a somber piece in C minor, the final chord might be a C major chord, creating a surprising Picardy Third.
Plagal Cadence (PC)
A cadence moving from a subdominant chord (IV or ii) to the tonic (I), often creating a gentle, conclusive feel.
Example:
The 'Amen' at the end of many hymns is a classic example of a Plagal Cadence.
Resolution
A feeling of completion or arrival in music, often achieved when a dissonant or unstable chord moves to a consonant or stable one.
Example:
After a suspenseful dominant chord, the tonic chord provides a satisfying sense of resolution.