AP Music Theory: Cadences - Your Ultimate Guide 🎶

Hey there, future music maestro! Let's nail these cadences. Think of them as musical punctuation—they tell us where a phrase is going. This guide is designed to be your go-to resource, especially the night before the exam. Let's make sure you feel confident and ready!

1. Cadence Basics

• Resolution: Feeling of completion or arrival.
• Closure: Sense of finality.
• Partial Closure: Creates suspense or anticipation.

Types of Cadences

Here's a quick overview of the cadences we'll cover:

• Authentic Cadences
  • Perfect Authentic Cadence (PAC)
  • Imperfect Authentic Cadence (IAC)
• Plagal Cadence (PC)
• Half Cadence (HC)
  • Phrygian Half Cadence (PHC)
• Deceptive Cadence (DC)

Practice Question

Multiple Choice Questions

1. Which cadence provides the strongest sense of resolution? a) Half Cadence b) Imperfect Authentic Cadence c) Perfect Authentic Cadence d) Deceptive Cadence

2. A cadence ending on the dominant chord (V) is called a: a) Plagal Cadence b) Half Cadence c) Deceptive Cadence d) Perfect Authentic Cadence

Short Answer Question

3. Briefly explain the difference between a perfect authentic cadence and an imperfect authentic cadence.

2. Authentic Cadences

Authentic cadences involve a dominant function chord (V or vii°) resolving to the tonic (I). They provide a strong sense of resolution and finality. This is a super high-yield topic, so make sure you've got it down!

2.1. Perfect Authentic Cadence (PAC)

Criteria for a PAC:

1. Dominant Chord: Must be a V chord (not vii°).
2. Root Position: Both V and I chords must be in root position.
3. Soprano Ending: The soprano voice must end on the tonic.
4. Stepwise Motion: The soprano voice must move by step to the tonic.

• Example: In C major, a G major chord (V) in root position moving to a C major chord (I) in root position, with the soprano moving from B to C.

2.2. Imperfect Authentic Cadence (IAC)

Characteristics of an IAC:

• Does not meet all the criteria of a PAC.
• Common variations include:
  • V or vii° in root position to I, but soprano doesn't end on tonic.
  • V or vii° in inversion to I in root position.
  • V in root position to I in inversion.

• Example 1: vii°6 to I in root position. Notice the supertonic in the bass resolving down to the tonic.
• Example 2: V6/4 to I. This is a very weak form of an IAC due to the unstable 6/4 chord.

2.3. Picardy Third

• Definition: A major tonic chord (I) at the end of a piece in a minor key.
• Usage: Almost exclusively at the end of a piece, never in the middle.

Practice Question

Multiple Choice Questions

1. Which of the following is NOT a requirement for a Perfect Authentic Cadence (PAC)? a) The dominant chord must be a V chord. b) Both chords must be in root position. c) The soprano voice must end on the mediant. d) The soprano voice must move by step.

2. What is a Picardy third? a) A minor chord at the end of a major piece. b) A major chord at the end of a minor piece. c) A deceptive cadence in a minor key. d) A half cadence in a major key.

Free Response Question

3. Given the following progression in C major: G - C. Identify the cadence. Explain your reasoning, including the position of the chords and the movement of the soprano voice.

3. Plagal Cadences

Plagal cadences move from a subdominant chord (IV or ii) to the tonic (I). Often used for a gentle, conclusive feel, like the final "Amen" in a hymn. This is another high-yield topic!

• Function: Subdominant (IV or ii) to Tonic (I).
• Common Usage: Often found in religious music, but also in pop music.

3.1. Perfect Plagal Cadence

Criteria for a Perfect Plagal Cadence:

1. Subdominant Chord: Must be a IV chord (not ii).
2. Root Position: Both IV and I chords are in root position.
3. Soprano Ending: The soprano voice must end on the tonic.
4. Common Tone: The soprano voice must keep the common tone (the tonic).

• Example: In C major, an F major chord (IV) in root position moving to a C major chord (I) in root position, with the soprano moving from C to C.

3.2. Imperfect Plagal Cadence

• Characteristics:
  • Does not meet all the criteria of a Perfect Plagal Cadence.
  • Can use ii or IV in different inversions.
  • May not keep a common tone in the soprano.

• Example 1: IV to I, but the common tone is in the alto line.
• Example 2: ii in root position to I in first inversion. This is a weaker cadence due to the ii chord being in root position.

Practice Question

Multiple Choice Questions

1. Which chord progression is characteristic of a plagal cadence? a) V-I b) IV-I c) V-vi d) ii-V

2. In a perfect plagal cadence, what must the soprano voice do? a) Move up by step b) Move down by step c) End on the leading tone d) Keep the common tone (tonic)

Short Answer Question

3. Explain the difference between a perfect and an imperfect plagal cadence, and provide an example of each.

4. Half Cadences

Half cadences end on the dominant chord (V), creating a sense of anticipation. They're like a musical question mark, leaving the phrase unresolved. This is another high-yield topic!

• Function: Any cadence that ends on the dominant (V).
• Feeling: Creates tension and anticipation, not resolution.

4.1. Common Half Cadences

• I to V
• IV to V

4.2. Phrygian Half Cadence (PHC)

Criteria for a PHC:

1. Key: Occurs ONLY in minor keys.
2. Chord Progression: iv6 to V.
3. Contrary Motion: Soprano and bass move by step in contrary motion.
4. Dominant Ending: Both soprano and bass end on the dominant scale degree.

• Example: In A minor, a D minor chord in first inversion (iv6) moving to an E major chord (V), with the bass moving from F to E and the soprano moving from A to B.

Practice Question

Multiple Choice Questions

1. What is the defining characteristic of a half cadence? a) It ends on the tonic chord. b) It ends on the dominant chord. c) It ends on the subdominant chord. d) It ends on the submediant chord.

2. Which of the following is a characteristic of a Phrygian half cadence? a) It occurs in major keys. b) It uses a I-V progression. c) It uses a iv6-V progression in minor keys. d) It uses a V-vi progression.

Free Response Question

3. Given the following progression in A minor: D minor (first inversion) - E major. Identify the cadence. Explain your reasoning, including the position of the chords and the movement of the bass and soprano voices.

5. Deceptive Cadences

Deceptive cadences create a sense of surprise by resolving the dominant chord (V) to a chord other than the tonic (usually vi). They're like a musical plot twist!

• Function: Dominant (V) resolves to a chord other than the tonic (usually vi).
• Feeling: Creates a sense of surprise or unexpectedness.
• Common Usage: Inside sections of music, not at the end.

5.1. Common Deceptive Cadences

• V to vi (most common)
• V to IV or iv (less common)

Practice Question

Multiple Choice Questions

1. What is the most common resolution for a deceptive cadence? a) V-I b) V-IV c) V-vi d) V-V

2. Where are deceptive cadences typically found? a) At the end of a piece b) At the end of a section c) In the middle of a section d) At the start of a piece

Short Answer Question

3. Explain why a deceptive cadence is called "deceptive" and provide an example of a typical deceptive cadence progression.

Final Exam Focus 🎯

• High-Priority Topics:
  • Authentic Cadences (PAC & IAC): Know the specific requirements for each. Pay close attention to root position and soprano voice movement.
  • Half Cadences (including PHC): Understand the function of ending on the dominant and the unique characteristics of the Phrygian half cadence.
  • Deceptive Cadences: Be able to identify a V-vi progression and understand its function.
  • Plagal Cadences: Know the difference between perfect and imperfect plagal cadences.
• Common Question Types:
  • Multiple Choice: Identifying cadences by ear or by looking at a score.
  • Short Answer: Explaining the characteristics of different cadences and their functions.
  • Free Response: Writing cadences in four-part harmony, analyzing given progressions, and correcting errors in voice leading.

Last-Minute Tips

• Time Management: Don't spend too much time on one question. Move on and come back if you have time.
• Common Pitfalls:
  • Misidentifying chord inversions.
  • Forgetting to raise the leading tone in minor keys.
  • Creating parallel fifths or octaves.
  • Not keeping common tones in plagal cadences.
• Strategies for Challenging Questions:
  • Break down complex progressions into smaller parts.
  • Look for patterns and common cadence types.
  • Use your knowledge of voice leading to guide your analysis.

You've Got This! 💪

Remember, you've worked hard, and you're ready for this. Take a deep breath, stay focused, and trust your instincts. You've got the knowledge and the skills to ace this exam. Good luck, and go make some beautiful music! 🎶