PAC/D

PAC/G
PAC/a
MUSC195 Harmony I
Dr. Stevens
Cadences
Learning goals:
Be able to:
1. Identify cadence location, type [Half Cadence
or Authentic Cadence], and key.
2. Distinguish between ACs that are perfect [PAC]
and imperfect [IAC]
Important Info:
1. HC = phrase ends on V. AC = phrase ends on V(7) --> I.
2. For a cadence to be form-defning (i.e. for it to serve as musical
punctuation that ends a phrase), it must be HC or AC.
a) Must end on root position triad;
b) If cadence ends on tonic, second-to-last chord must be
root-position, cadential V or V7
c) Cadence must be accompanied by cadential melodic
and rhythmic gestures. (Not every V-I = a cadence.)
3. In Bach chorales, most cadences are AC. To determine if the
cadence is AC, ask two questions:
a) Could the bass line into the cadence be Sol to Do?
b) Is the second-to-last chord M or Mm7?
c) If both answers are yes, the cadence is AC. If not, the
cadence is usually (and this semester, always) a HC.
Brahms: Cadences are created through the interaction
of the three great factors in music: harmony, melody,
and rhythm.
Cadences can be harmonically closed (AC) or open (HC).
If a cadence is harmonically closed, it may be melodically
closed (PAC) or open (IAC).
Brahms also posited that cadences occur in a hierarchy, such
that the weaker cadence precedes the stronger.