3.2 Cadence Types and Their Functions

Cadences are the musical punctuation marks that shape phrases and sections. They come in various flavors, each with its own flavor and purpose. From the finality of perfect authentic cadences to the suspense of half cadences, these harmonic tools create structure and emotion.

Unexpected cadences like deceptive and evaded ones keep listeners on their toes. By subverting expectations, composers can create surprise, tension, and forward momentum. Understanding these cadence types helps us grasp how music builds and releases tension throughout a piece.

Authentic and Plagal Cadences

Types of Authentic Cadences

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• Authentic cadence occurs when a phrase ends with the progression V-I (dominant to tonic)
  • Two types of authentic cadences perfect authentic cadence (PAC) and imperfect authentic cadence (IAC)
• Perfect authentic cadence (PAC) occurs when the chord progression V-I is used at the end of a phrase and both chords are in root position with the tonic note in the highest voice
  • Considered the strongest type of cadence and provides a strong sense of resolution and finality
  • Commonly used at the end of a piece or a major section to provide a sense of closure (end of a sonata exposition)
• Imperfect authentic cadence (IAC) occurs when the chord progression V-I is used at the end of a phrase, but one or both chords are inverted, or the highest voice is not the tonic note
  • Provides a sense of resolution, but not as strong as a PAC
  • Often used in the middle of a piece or section to provide a sense of temporary resolution without complete finality (end of a phrase within a larger section)

Plagal Cadences and Picardy Thirds

• Plagal cadence occurs when a phrase ends with the progression IV-I (subdominant to tonic)
  • Provides a sense of resolution, but is considered weaker than an authentic cadence
  • Often used in religious music ("Amen" cadence) and as a closing gesture after an authentic cadence for added emphasis
• Picardy third refers to the use of a major tonic chord at the end of a piece in a minor key
  • Creates a surprising and uplifting effect by ending a minor-key piece on a major chord
  • Commonly used in Renaissance and Baroque music to provide a sense of resolution and positivity (end of Bach's "Brandenburg Concerto No. 1")

Half Cadences

Types and Functions of Half Cadences

• Half cadence occurs when a phrase ends on the dominant chord (V), creating a sense of incomplete resolution and expectation
  • Often used in the middle of a piece or section to create tension and anticipation for the upcoming material
  • Can be used to divide a larger section into smaller phrases or to signal the end of a musical idea (end of the antecedent phrase in a period)
• Phrygian half cadence is a specific type of half cadence that occurs in minor keys, featuring the progression iv6-V
  • The use of the minor iv chord (typically in first inversion) followed by the dominant creates a distinctive sound associated with the Phrygian mode
  • Often used in Baroque music to create a sense of tension and drama (J.S. Bach's "Prelude in C Minor," WTC Book 1)

Unexpected Cadences

Deceptive and Evaded Cadences

• Deceptive cadence occurs when a phrase ends with the progression V-vi (dominant to submediant) instead of the expected V-I
  • Creates a sense of surprise and harmonic detour by avoiding the expected resolution to the tonic
  • Often used to extend a musical idea or to create a sense of continuation and development (end of the first phrase in Beethoven's "Piano Sonata Op. 49, No. 1")
• Evaded cadence, also known as an interrupted cadence, occurs when the expected resolution of a cadence is delayed or avoided through the use of an unexpected chord or melodic motion
  • Creates a sense of surprise, tension, and anticipation by thwarting the expected resolution
  • Can be used to extend a musical idea, create a sense of continuous development, or lead to a modulation (Mozart's "Symphony No. 40," first movement, exposition)