1. Cadences and Nonharmonic Tones Chapter 5

2. Harmonic Cadence The end of a musical phrase Can be compared to punctuation 5 types

3. Perfect Authentic Cadence V – I Compared to period at the end of sentence Both chords must be in root position The root of the I chord must be in the soprano

4. Imperfect Authentic Cadence V – I Slightly weaker than perfect authentic Does not satisfy the requirements of perfect authentic Substitutes vii° triad for V

5. Half Cadence Ends with V chord Compared to question mark Most common – I-V, IV-V, ii-V

6. Plagal Cadence IV – I Amen cadence Rarely ii⁶ - I

7. Deceptive Cadence V – something other than I Most common – V-vi

8. Nonharmonic Tones Tones that do not fit in the harmonic chord Creates dissonance Should not be considered when doing Roman numeral analysis Can be accented or unaccented

9. Passing Tones Fills in the interval of a 3 rd Can be accented or unaccented Abbreviation: PT

10. Neighbor Tones Upper or lower neighbor of two repeated tones Can be accented or unaccented Abbreviation: NT

11. Escape Tones Step up followed by a skip of a 3 rd down Only unaccented Abbreviation: ET

12. Anticipation Anticipates the next chord tone Only unaccented Abbreviation: ANT

13. Suspension Suspends a chord tone from the previous chord and resolves down Consists of preparation, suspension, and resolution Identified by the interval above the bass Types: 9-87-64-3 Only accented Abbreviation: SUS

14. Retardation Suspends a chord tone from the previous chord and resolves up Only accented Abbreviation: RET

15. Appoggiatura Approached by skip and resolved by step in the opposite direction Only accented Abbreviation: APP

16. Changing Tones Combination of upper and lower neighbor tone Also called double neighbor tones Abbreviation: CT

17. Pedal Tone Held or repeated note as chords change Usually in lowest voice Abbreviation: PD