Cadences

Question 1

Perfect Authentic Cadence (PAC)

Answer 1

the most conclusive of all the cadences. Both of the following must be present:

The bass voice moves from scale degree 5 to scale degree 1.

In counterpoint the treble voice moves to the tonic note by step: scale degree 2 to scale degree 1 or scale degree 7 to scale degree 1 in the Classical and Romantic styles you can leap to scale degree 1

Question 2

Imperfect Authentic Cadence (IAC)

Answer 2

the second most conclusive cadence. Any of the following may be present:

Either chord can have the third of the chord (instead of the root) in the bass.

The treble voice ends on scale degree 3 or scale degree 5 (the 3rd or 5th of the I chord).

The vii˚ chord may be substituted for the V chord.

Question 3

Plagal Cadence (PC)

Answer 3

Subdominant to tonic motion. Known as the “Amen” cadence when it occurs at the end of hymns in the Christian church.

Question 4

Deceptive Cadence (DC)

Answer 4

Dominant to submediant motion. It is a surprise resolution because the dominant (V or vii˚) resolves to vi (or ♭VI in minor). Scale degree 7 to scale degree 1 should still be present in one of the voices.

Question 5

Half Cadence (HC)

Answer 5

Motion to the dominant and has an open, unfinished sound. It is most often the ending for the first phrase in a call and response phrase pair. Because it ends on V it can be thought of as the “question mark” cadence in a call and response (question and answer) relationship.

Question 6

Authentic Cadences (AC)

Answer 6

dominant to tonic motion.

If the V chord is used, whether in a major or minor key, it must be a V major triad. There are two types of authentic cadences:

The perfect authentic cadence

The imperfect authentic cadence