2. Music Theory Cadences - Chapter 5

3. Definitions  Phrase A substantial musical thought, which ends with a punctuation called a cadence A substantial musical thought, which ends with a punctuation called a cadence  Cadence A harmonic cadence is a musical punctuation that closes a phrase or section of music A harmonic cadence is a musical punctuation that closes a phrase or section of music

4. Cadence Types  PAC - Perfect authentic cadence  Strongest Cadence  V-I, or V-i  Both chords are in root position  Tonic is the highest sounding  pitch on the last chord

5. Cadence Types  IAC - Imperfect authentic cadence  Strong Cadence  V-I/i, vii-I/i  Both chords are NOT in  root position  Tonic is NOT the highest  sounding pitch on the last chord

6. Cadence Types  Half - Half cadence  Like a comma,  The final chord is V  Phrygian Half Cadence iv to V in minor

7. Cadence Types  DEC - Deceptive  Obvsiously - it doesn’t go where you expect  V to anything other than I

8. Cadence Types  Plagal - Plagal Cadence  “Amen” Cadence  IV to I, iv to i  Infrequently ii6 to I

9. Cadence Types  Rhythmic Cadence  Creating a punctuation with only rhythm  Phrases often incorporate them, and they tend to fit with the harmonic cadence type

10. -Non Harmonic Tones (NHT’s) -  Tones that sound along with a chord but are not chord tones  NHT’s create dissonance - usually 2nd’s, 4th’s and 7th’s  The dissonance is calculated against the lowest sounding tone of the chord, regardless of the other pitches present (exception if NHT occurs in the lowest sounding voice)

11. -Non Harmonic Tones (NHT’s) -  Most NHT’s involve 3 pitches:  1. Preceding Chord Tone  2. NHT  3. Following Chord Tone  This relationship is often defined as (1)preparation, (2)dissonance, (3)resolution

12. -Non Harmonic Tones (NHT’s) - NHT’s are distinguished by determining where the dissonance occurs  Unaccented NHT’s - dissonance occurs “off” the beat (weaker)  Accented NHT’s - dissonance occurs “on” the beat (stronger)  To indentify NHT’s we will place parenthesis around the NHT and write the abreviation for the NHT above or below the chord where it occurs

13. Unaccented NHT’s  Passing Tone - pt  Moving from one chord tone in stepwise motion, either ascending or descending to a NHT follwed by stepwise motion in the same direction to a different chord tone  Unaccented pt:  Occurs in any voice  Stepwise motion  Ascending or descending

14. Unaccented NHT’s  Neighbor tone - nt  Moving from one chord tone in stepwise motion either ascending or descending to a NHT and then back to the same chord tone  Unaccented nt:  Occurs in any voice  Stepwise motion  Ascending or descending

15. Unaccented NHT’s  Escape Tone - et  Moving from one chord tone in stepwise motion ascending to a NHT followed by a descending 3rd to a chord tone  Unaccented et:  Occurs in Soprano voice  Stepwise motion followed by skip down (3rd)  ALWAYS Unaccented

16. Unaccented NHT’s  Anticipation - ant  Moving from one chord tone in stepwise motion, either ascending or descending to a NHT follwed by the same tone (NHT) which occurs as part of the next chord  Unaccented ant:  Occurs in any voice, usually Soprano  Stepwise motion  Ascending or descending  Must be included in the next chord  ALWAYS Unaccented

17. Accented NHT’s  Passing Tone - pt  Moving from one chord tone in stepwise motion, either ascending or descending to a NHT follwed by stepwise motion in the same direction to a different chord tone  accented pt:  Occurs in any voice  Stepwise motion  Ascending or descending  Occurs on the beat

18. Accented NHT’s  Neighbor tone - nt  Moving from one chord tone in stepwise motion either ascending or descending to a NHT and then back to the same chord tone  Accented nt:  Occurs in any voice  Stepwise motion  Ascending or descending  Occurs on the beat

19. Accented NHT’s  Suspension - sus  Moving from a chord tone to the same tone as a NHT and then resolving by descending in stepwise motion to a chord tone  Accented sus:  Occurs in any voice  3 parts-preparation, suspension, resolution  ALWAYS Accented

20. Accented NHT’s  Retardation - ret  Moving from a chord tone to the same tone as a NHT and then resolving by ascending in stepwise motion to a chord tone  Accented ret:  Usually occurs in Soprano  3 parts-preparation, retardation, resolution  ALWAYS Accented

21. Accented NHT’s  Appoggiatura  Moving from a chord tone by a skip to a NHT and then resolving in stepwise motion in the opposite direction to a chord tone  Accented app:  Usually occurs in Soprano  Usually Accented

22. Other NHT’s  Successive Passing Tones  Two passing tones filling in the space of a fourth  may be accented or unaccented  Changing Tones - ct  Two successive NHT’s - the first leads by step from a chord tone, skips to a second NHT and then leads back by stepwise motion to a chord tone  Usually unaccented

23. Other NHT’s  Pedal Tone - ped  A held or repeated note that alternates between dissonance (NHT) and consonance  Usually in the bass  Most often the chords above change to create the dissonance  If it occurs above the other voices it is called an inverted pedal tone  May be either accented or unaccented

24. Summary TypeApproachDepartureVoice >, not > ptStepStepAnyeither ntStepStepAnyeither etStepSkipSoprano Not > appSkipStep Us. Sop. > susSame Step down Any> retSame Step up Us. Sop. > ant Prefer step Same Us. Sop. Not > pedNANA Us. Bass Both ctStepStepAny Us.Not >

25. Homework!!!  Textbook - pg. 103-107, 5.2-5.4 5.4 only nos.1 and 2  DUE WED!!!