1. Most (left) to least (right)
Day 19 – Cadences
Stability chart –
Most (left) to least (right) G B D A E C F# G
Look at G:
4 (Fa) must go to 3 (Mi)
7 (Ti) MUST go to 1 (Do)

2. Don’t use this chord. It doesn’t function well.
I and VI
VI and ii
V and vii
Notice there is NO III.
Don’t use this chord. It doesn’t function well.
99. Tonic Function Chords
Serve as “home”, final sounding. I and VI
100. Predominant Function Chords
Come before dominant. VI and ii
101. Dominant Function Chords
Lead very strongly to Tonic. V and vii.

3. A rhythmic cadence generally elongates the rhythm to sound more final.
Harmonic progression that creates a sense of finality or a stopping/breathing point.
A rhythmic cadence generally elongates the rhythm to sound more final.

4. Types of Conclusive Cadences (3)
Cadence that ends on Tonic (I).
Types of Conclusive Cadences (3)
104. Perfect Authentic Cadence (PAC)
V  I Both root position, “Do” in Soprano
105. Imperfect Authentic Cadence (IAC)
V  I or vii  I or there is an inversion, or Do is not in Soprano

6. PAC
PAC
IAC
IAC
IAC
IAC
IAC

7. IV  I “Amen”
106. Plagal Cadence

8. Types of Inconclusive Cadences (3)
Cadence that does NOT end on Tonic (I).
Types of Inconclusive Cadences (3)
108. Half Cadence (HC)
Any cadence that ends on V. (Weak)
109. Phrygian Half Cadence
iv6  V in minor (most minor half)

10. V to any chord other than I (usually VI)
V to any chord other than I (usually VI). Expect Tonic but it “deceives” you.
110. Deceptive Cadence

11. V  I
V  I or vii  I, not perfect
IV  I
V  anything but I (usu. VI)

12. anything  V
minor: iv6  V