Click on each cadence separately to hear the examples.
In musical structure, the word "cadence" is meant to indicate the end of a phrase. When we use the term, there is an harmonic implication associated with each cadence. We have come to label cadences according to the chords used at the phrase end.
Authentic Cadence
An authentic cadence has a harmonic structure of any first class chord (V or viio in any position) moving to a tonic chord (any position)
Perfect authentic cadence (PAC) requires three conditions:
Click on each cadence separately to hear the examples.
Half Cadence (HC)
The phrase ends on a V chord. The chord preceding the V can be
anything. This cadence has a tendency to leave the listener
hanging. One has the feeling that more is to come.
Click on each measure separately to hear the examples.
Deceptive Cadence
V to vi (major) or V to VI (minor) - This type cadence has
the appearance of approaching an authentic cadence, but just as the final
I chord is about to sound, the listener is deceived by the substitution
of a vi chord in place of the I.
Click on the example to hear the deceptive cadence.
Plagal Cadence (Amen)
IV to I (major) or iv to i (minor) - This often occurs following
an authentic cadence. It acts as a type of punctuation and is
typified by the "Amen" used at the end of church hymns.
Click on the example to hear the plagal cadence.
Phrygian Cadence
iv6 to V (in minor only) - This evolved out of the
typical Renaissance cadence on the Phrygian mode. Since E is the
final or tonic in the Phrygian mode, the bass is expected to end on that
note. Traditionally this final E would be approached stepwise from
above (F - E). Also typical would be another voice (often the soprano)
approaching another E from below (D-E). Other voices would add more
notes to the first chord and since the bass note on the first chord is
an F, the added note could not be a B (F-B tritone would never be used
between the bass and another voice). The only note that could sound
in consonance with the F and D was the A. When the bass and soprano
respectively resolved to their E's, the middle voice would fall to the
G. Since this was marking the ending of a piece, the G was inadequate.
In this Renaissance Period if the third of a final chord was used, it needed
to be a major third; the minor third was not acceptable as a final sonority.
So the final combination sounded like an E major triad (incomplete)
Although in actuality this was a VII6 to i in E minor, modern
theorists chose to interpret this as a half cadence in A minor, thus the
progression iv6 to V.
Click to hear.
Here is a 4-voice Phrygian cadence in G minor
Click to hear.
If you still have questions, contact Dr. Bartolotta at wbartolo@odu.edu.