Cadences, Sentences, Periods and Phrases

Cadences Even though our ultimate harmonic goal is usually a tonic triad, there will also be some harmonic goals (some tonic and some not) The term cadence refers to our harmonic goal, which is usually reached a regular rate (often every 4 measures) and refers specifically to the chords used to reach that goal. There are many cadences in tonal music. Some are more or less conclusive, some are final and some leave us off balance with a need for the music to continue

Types of Cadences The standard terminology for cadences refers to both MAJOR and minor keys (there is NO difference) Authentic Cadence: a tonic triad preceded by a V or vii ◦ ◦ Perfect Authentic Cadence (PAC): Consists of V-I or V7-I ◦ Both the V and I chords are in root position ◦ Scale Degree 1 is in the melody over the tonic triad ◦ The most final sounding of all cadences ◦ Most tonal compositions end with a PAC (but they could also be found other places)

More Cadences! Imperfect Authentic Cadence (IAC): An authentic cadence that is NOT a PAC ◦Root Position IAC: Like PAC but scale degree 3 or 5 is in the melody over the I chord ◦Inverted IAC: V(7)-I but with either or both the chords inverted ◦Leading Tone IAC: Some form of vii ◦ -I, the vii ◦ is substituted for the V(7) REMINDER: Not every V-I progression will constitute a PAC! You must look at the way in which the chord is written! Deceptive Cadence (DC): results when the ear expects V-I (Authentic Cadence) but hears V-? Instead. Typically the ? is a submediant triad but others are possible. A DC produces a very unstable feeling and would never be used to end a piece of tonal music. Used to extend a phrase not to end a phrase

And MORE CADENCES! Half Cadence (HC): very common type of unstable or “progressive” cadence. HC will end with a V chord, which can be preceded by any other type of chord Phrygian Half Cadence (We won’t use this one much): a special name given to the iv6-IV HC in minor Plagal Cadence (PC): involves a IV-I progression. Although they are “final” sounding, they are not as important as the authentic cadence (in tonal music). Typically used as a tag following a PAC. ◦Familiar example? “Amen” sung at the end of hymns

Easy chart to memorize Cadence TypeFirst ChordSecond Chord AuthenticContains Leading ToneTonic PlagalDoes NOT contain Leading ToneTonic DeceptiveContains Leading ToneNot tonic HalfDoes NOT contain Leading ToneNot tonic A more general way to think in terms of cadences? Conclusive (authentic and plagal) and Progressive (deceptive and half)

Cadences and Harmonic Rhythm Rule of Thumb: the last chord of the cadence usually falls on a stronger beat than the chord that precedes it. This is said assuming that the harmonic rhythm is moving faster than one chord per measure

Motives and Phrases Motive: smallest identifiable musical idea ◦Can consist of a rhythmic pattern, a pitch pattern or both ◦Rhythm is probably the stronger and more easily identifiable when it appears later in a composition Phrase: relatively independent music idea terminated by a cadence Sub-phrase: distinct portion of a phrase, but it is NOT a phrase because it is not terminated by a cadence or because it is too short to be relatively independent PHRASES ARE USUALLY LABELED WITH LOWERCASE LETTERS (a, b, c and so on) The definition of a phrase, like most things we’ve talked about so far, is open for discussion. What sounds like a phrase to one individual might not be a phrase to another Elision: when the last note of one phrase serves as the first note of the next phrase

Periods Certain patterns for organizing phrases or groups of phrases are found to be so effective that they are used over and over again in literature. A large musical structural unit is what we call a PERIOD A period typically consists of two phrases in an antecedent-consequent (question-answer) relationship. The relationship is established by means of a stronger cadence at the end of the second phrase

Periods Continued If both phrases are identical, the result is not a period but a repeated phrase. REPETITION IS IMPORTANT IN TONAL MUSIC, BUT DOES NOT CONTRIBUTE TO THE GROWTH OF THE MUSICAL FORM! Parallel Period: if both phrases begin with similar or identical material, even if the material is embellished Contrasting Period: when the phrase beginnings are not similar

Even more… Three Phrase Period: has 3 different phrases ◦2 antecedents, 1 consequent ◦1 antecedent, 2 consequents ◦Dictated solely by the cadences and their strength Double Period: consists typically of four phrases in 2 pairs, the cadence at the end of the second pair being stronger than the cadence at the end of the first pair

Sentences As we have seen so far, the distinguishing feature of a period is the weak cadence-strong cadence relationship. A sentence is the immediate repetition or variation of a musical idea followed by a motion towards a cadence Unlike the period, a sentence is typically, though not always, a single phrase in length