Harmonic Cadences Cadence Worksheet Theory ThingsWilliam Wieland
As tonal goals, harmonic cadences resolve to stable chords, generally root position major or minor triads.

Right ArrowI
Right Arrowi  (in minor)
– I  (vii°6
– i)
This is the most important cadence.
Resolve 7 to 8 and 4 to 3.

If a musical phrase is a sentence,
an authentic cadence is a period.
Perfect Authentic (2 criteria)
  soprano ends on 1
  bass goes 5 to 1
Imperfect Authentic – all others
  vii° may substitute for V (above)
  the dominant chord may be inverted
  the soprano may end on 3 or 5
All cadences in functional tonality refer to V - I. (The plagal cadence is an elaboration of tonic.)

Ends onV
I – V, ii – V, IV – V, vi – V  
i – V, ii°6
– V, iv – V, VI – V  
(and more!)
Phrygian Half: iv6
– V  
The half cadence, a comma, (Bass goes down a half step.)

Right Arrowvi
Right ArrowVI  (in minor)
Rarely  V – IV6
A deceptive cadence may fool you. — Like an authentic cadence, resolve 7 to 8.

Plagal IV – I
iv – i  (in minor)
Rarely  ii6
– I
a.k.a. Amen cadence — often heard after the final authentic cadence — Plagal on a Bagel

Authentic Cadence = Full Close, Closed Cadence, Final Cadence, and Full Cadence

Half Cadence = Half Close, Open Cadence, Imperfect Cadence, Semicadence, and Incomplete cadence

Deceptive Cadence = Avoided Cadence, Broken Cadence, Interrupted Cadence, and Irregular Cadence