Types of Cadences

Cadences are essential in music, marking points of resolution or tension. Understanding different types, like Perfect Authentic and Deceptive Cadences, helps analyze how composers create emotional impact and guide listeners through musical narratives.

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 may not be the tonic.
   • Creates a less conclusive resolution compared to PAC.
   • Often used to create a sense of continuation rather than finality.
   • Can occur in various musical contexts, providing flexibility in phrasing.

3. Half Cadence (HC)

   • Ends on a V chord, creating an unresolved feeling.
   • Often used to lead into a subsequent musical idea or phrase.
   • Can be found at various points in a piece, not just at the end.
   • Creates tension and anticipation for the following material.
   • Commonly used in both classical and contemporary music.

4. Plagal Cadence

   • Involves a IV chord resolving to a I chord.
   • Often referred to as the "Amen Cadence" due to its frequent use in hymns.
   • Provides a softer resolution compared to authentic cadences.
   • Can evoke a sense of calm or closure without the strong finality of PAC.
   • Frequently used in various musical styles, especially in religious music.

5. Deceptive Cadence

   • Typically moves from V to vi instead of resolving to I.
   • Creates surprise and defies the listener's expectation of resolution.
   • Often used to prolong musical tension and create interest.
   • Can lead to new musical ideas or themes following the deceptive resolution.
   • Commonly found in classical and popular music.

6. Phrygian Half Cadence

   • A specific type of half cadence that moves from iv6 to V.
   • Characteristic of the Phrygian mode, often used in minor keys.
   • Creates a unique, exotic sound due to the half-step motion.
   • Provides a strong sense of tension, leading to a resolution.
   • Frequently used in classical and modal music.

7. Evaded Cadence

   • A cadence that avoids a strong resolution, often moving from V to a non-tonic chord.
   • Creates a sense of ambiguity and prolongs the musical phrase.
   • Can lead to unexpected harmonic progressions.
   • Often used to maintain interest and avoid predictability in music.
   • Commonly found in various genres, including jazz and contemporary classical.

8. Interrupted Cadence

   • Typically involves a V chord that resolves to a chord other than I, often vi.
   • Creates a moment of surprise and disrupts the expected resolution.
   • Can lead to new musical ideas or themes, enhancing the narrative of the piece.
   • Often used to create contrast and maintain listener engagement.
   • Found in a variety of musical styles, adding complexity to harmonic progressions.