Common Cadence Types

Cadences are essential in music, marking points of resolution or tension. Understanding different types, like Perfect Authentic and Deceptive Cadences, helps composers create emotional depth and guide listeners through musical journeys. Here’s a breakdown of common cadence types.

1. Perfect Authentic Cadence (PAC)

   • Consists of a V (dominant) chord resolving to a I (tonic) chord.
   • Both chords must be in root position for it to be considered "perfect."
   • The highest note of the I chord must be the tonic note.
   • Provides a strong sense of resolution and closure in music.
   • Commonly used at the end of phrases or sections.

2. Imperfect Authentic Cadence (IAC)

   • Similar to PAC but may involve inversions of the chords.
   • The highest note of the I chord does not have to be the tonic.
   • Creates a less conclusive feeling than a PAC.
   • Often used to lead into new musical ideas or sections.
   • Can still convey a sense of resolution, but with less finality.

3. Half Cadence (HC)

   • Ends on a V chord, creating a sense of pause or suspension.
   • Often used to build tension or anticipation for the next phrase.
   • Can occur at various points in a musical piece, not just at the end.
   • Leaves the listener expecting a resolution that does not occur immediately.
   • Commonly used in sequences and transitional passages.

4. Plagal Cadence

   • Involves a IV (subdominant) chord resolving to a I (tonic) chord.
   • Often referred to as the "Amen Cadence" due to its frequent use in hymns.
   • Provides a softer resolution compared to PAC.
   • Can evoke a sense of calm or finality, but less strong than PAC.
   • Frequently used in conjunction with other cadence types for variety.

5. Deceptive Cadence

   • Typically moves from V (dominant) to vi (submediant) instead of resolving to I.
   • Creates surprise and can lead to unexpected musical directions.
   • Often used to prolong tension before arriving at a true resolution.
   • Can add emotional depth and complexity to a composition.
   • Commonly found in classical and popular music.

6. Phrygian Half Cadence

   • A specific type of half cadence that uses a iv6 (minor subdominant in first inversion) to V.
   • Characteristic of the Phrygian mode, giving it a distinct sound.
   • Creates a unique tension and flavor, often used in modal music.
   • Provides a sense of unresolved tension, leading to a strong expectation for resolution.
   • Commonly found in classical and contemporary compositions.

7. Evaded Cadence

   • A cadence that avoids a strong resolution, often by moving to a different chord instead of the expected tonic.
   • Creates a sense of ambiguity and prolongs the musical phrase.
   • Can be used to maintain interest and prevent predictability in music.
   • Often leads to new sections or ideas rather than concluding a phrase.
   • Useful for composers looking to create tension or surprise.

8. Interrupted Cadence

   • Involves a V chord that resolves to a chord other than the tonic, typically vi.
   • Similar to deceptive cadence but emphasizes the interruption of expected resolution.
   • Creates a moment of surprise and can shift the direction of the music.
   • Often used to enhance emotional impact or narrative in a piece.
   • Can lead to new themes or ideas, keeping the listener engaged.