Cadences

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I.        Harmonic Types

A.     Authentic

1.       Perfect

2.       Imperfect

B.     Plagal

C.     Deceptive

D.     Half

1.       Approached directly to V

2.       Approached via cadential 64

3.       “Phrygian” cadence in minor

II.      Structural Types

A.     Delayed Cadence

1.       Typically, non-harmonic tones delay the final resolution

a)      Accented passing tones

b)      Accented neighbor (diatonic and chromatic) tones

c)      Double neighbor tones

d)      Suspensions

2.       One of the most common is the half-cadence with the cadential 64, which delays the resolution to a weak beat. (The cadential 64 is generally a kind of suspension or accented passing tone.)

3.       Delays can be lengthy, using pedal points or harmonic evasions, or very short, or anywhere in between.

(note: click the examples to play them)

B.     Elided Cadence

1.       The new phrase begins simultaneously with, or before, the cadence chord of the first phrase.

C.     Extended Cadence

1.       The resolution is extended beyond the resolving chord by:

a)      Arpeggiation

b)      Prolongation

c)      Repetition of chords

d)      Pedal points

D.     Implied Cadence

1.       A cadence implies a particular chord, but the root is absent.

2.       Typically this is moving to a I63 instead of root position.

a)      Note the use of the “noncadential cadential 64” in helping to bring this about.

E.      Evaded Cadence

1.       The resolution moves to a chord other than the expected.

2.       The most common is the “deceptive” cadence, in which the expected tonic becomes vi (VI in minor), or sometimes IV6 (iv6 in minor.)

3.       However, almost any sonority is possible; sometimes the evasion can be part of a sudden modulation.

4.       Constant evasion of cadences – in which the resolution is rarely, if ever, reached, are found typically in late Romantic works. Wagner typically uses such evasion in “endless melody” passages; Scriabin also evades cadences in many of his middle-period works.