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  • Chapter 4 - Triad Spelling and Authentic Cadences

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    Robert Tozier
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    This document discusses different types of cadences in music. It defines cadences as marking the close of a musical idea and explains that authentic cadences feature a V-I progression. Perfect authentic cadences have specific soprano and bass line characteristics, while imperfect authentic cadences vary one element. Half cadences end on a V chord rather than resolving to I. The document also covers cadences in minor keys, those incorporating dissonance, and special cases like the Picardy third where a minor key piece ends with a major I chord.

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    This document discusses different types of cadences in music. It defines cadences as marking the close of a musical idea and explains that authentic cadences feature a V-I progression. Perfect authentic cadences have specific soprano and bass line characteristics, while imperfect authentic cadences vary one element. Half cadences end on a V chord rather than resolving to I. The document also covers cadences in minor keys, those incorporating dissonance, and special cases like the Picardy third where a minor key piece ends with a major I chord.

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    21 views3 pages

    Chapter 4 - Triad Spelling and Authentic Cadences

    Uploaded by

    Robert Tozier
    This document discusses different types of cadences in music. It defines cadences as marking the close of a musical idea and explains that authentic cadences feature a V-I progression. Perfect authentic cadences have specific soprano and bass line characteristics, while imperfect authentic cadences vary one element. Half cadences end on a V chord rather than resolving to I. The document also covers cadences in minor keys, those incorporating dissonance, and special cases like the Picardy third where a minor key piece ends with a major I chord.

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    Chapter4TriadSpellingandAuthenticCadences TheCadence 1. Bringsaphrasemoreorlesstoastoppingplace 2. Cadencesveryinstrength 3.

    Theymarkapauseandstop

    TheCadenceEstablishesForm 1. Formthestructureofapieceofmusic ABARoundedBinary ABACABARondo ABA(thereturnoftheAisslightlydifferentsoweusetheA) 2. Phraseusually4measuresinlengthandendinginacadence 3. Twophrasesonewithatemporarycadenceandonewithafullstopthisis aPERIOD. HarmonyattheCadence 1. Thelasttwochordsidentifythecadence!! AuthenticCadence o VI o V7I o vii0I HalfCadence o Ifthecadenceendsonanyotherchord,especiallytheVChord, itiscalledaHalfCadence. 2. Theintervalofa5th Thisisthestrongestintervalinmusic.Usedtocreatestabilityand anticipationoftheendofaphrase. SpellingTonicandDominant 1. Thechordnumberisthesameasthescalestepuponwhichitisbuilt Fromthelettername,spellthirdsbyskippingeveryotherletter. (Hint:Itshouldlooklikeasnowmanonthestaff.Line,line,lineor space,space,space) Remember:Majortriad=Maj3+min3 MinorTriad=min3+Maj3

    PerfectAuthenticCadenceMemorizethesethreesteps.Youwillneedthem! 1. VIorV7I,eachchordwithitsrootinthebass(allchordsareinroot position) 2. Thetonictriad(I)hasthefirstscaletoneintheroot,thebass,andthe soprano 3. Thesopranolineisusually71or21 *Youmuchhaveallthreeofthefollowingrulesforthecadencetobeperfect authentic.Memorizethesethreerulesyouwillneedit! ImperfectAuthenticCadence 1. TheImperfectAuthenticCadenceislikethePerfectAuthenticCadenceexcept oneofthecharacteristicsisdifferent.Suchas: TheprogressionisVIorV7Iwithanotherpitchinthesoprano (somethingotherthantonic) Oneorbothofthechordsareinverted TheHalfCadence 1. Anycadencethatendsonanoteotherthantonic 2. Thecadenceusuallyendsonadominanttriad MinorKeyCadences 1. Similartothoseinmajorkeys 2. Tonicisusuallyminor,dominantisusuallymajor(usinganaccidental).This givesthesoundoftheleadingtonemovingtotonic.

    CadencesIncorporatingDissonance 1. Dissonancesarenonharmonictones(tonesthatarenotpartofthechord)or nonchordtones. 2. Extracareshouldbetakenwhenanalyzingmusicalexamples 3. Chromatictones(tonesthatarenotpartofthekeysignature)andpassing seventhsaretwo. ThePicardyThirdandTheEmptyFifth 1. TiercedePicardieanothernameforPicardythird HarmonicdeviceusedinEuropeanclassicalmusic Theuseofamajorchordattheendofamusicalsectionwhichis eithermodalorinaminorkey.Thisisachievedbyraisingthethirdof theexpectedminortriadbyasemitone(halfstep)tocreateamajor triad,asaformofresolution. Example:Apieceofmusicisinaminor.Insteadofendingthepiece onaminorIchord(ace),thefinaltonicchordismajor(AC#E) 2. TheEmptyFifth Themissingthirdinthefinalchord Thetriadisneithermajororminor Usedexclusivelyinminor Summary 1. Cadencemarksthecloseofamusicalidea 2. AuthenticcadencesVIprogression 3. Perfect&Imperfectisdeterminedbythesopranoandbasslines 4. HalfcadencesendingontheVchord 5. PicardyThirdraisedthirdinthefinalchord 6. Melodylinesoftenoutlinetriadsor7thchords 7. Therootmovementofa5thisthestrongest

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