Harmonic Cadences		Cadence Drill  Cadence Worksheet	Theory Things  William Wieland
As tonal goals, harmonic cadences resolve to stable chords, generally root position major or minor triads.
Authentic	V (7)   I	V (7)   i   (in minor)	vii° 6   – 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.)
Half	Ends on V	I – V,  ii – V,  IV – V,  vi – V   i – V,  ii° 6   – V,  iv – V,  VI – V   (and more!)	Phrygian Half:   iv 6   – V
The half cadence, a comma,			(Bass goes down a half step.)
Deceptive	V (7)   vi	V (7)   VI   (in minor)	Rarely   V – IV 6
A deceptive cadence may fool you. — Like an authentic cadence, resolve 7 to 8.
Plagal	IV – I	iv – i   (in minor)	Rarely   ii 6   – 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