We’ve been studying harmony—triads and chords. A cadence is a harmonic arrival point, a harmonic moment of stasis. A cadence can be compared to a comma or period in written language—the ear gets a moment to process a short passage of music, then the music continues. We will differentiate between four basic cadences now, adding more specificity in a later chapter.
Authentic Cadence (AC): a phrase ending with the chords \(\left.\text{V}\right.\)–\(\left.\text{I}\right.\)
Plagal Cadence (PC): a phrase ending with the chords \(\left.\text{IV}\right.\)–\(\left.\text{I}\right.\)
Deceptive Cadence (DC): a phrase ending with the chords \(\left.\text{V}\right.\)–\(\left.\text{vi}\right.\)
Half Cadence (HC): a phrase ending on the \(\left.\text{V}\right.\) chord
Subsection7.4.1Examples of Authentic Cadences
Figure7.4.1.Francis Scott Key and John Stafford Smith, “Star-Spangled Banner”
In the example above, the notes surrounded by parentheses are non-chord tones, which will be studied later. Also, there are seventh chords in this example, which we will study in the next chapter.
Here is another example ending with an authentic cadence.
Figure7.4.2.Lennon-McCartney, “I Want to Hold Your Hand”
Subsection7.4.2Examples of Plagal Cadences
Here are examples with plagal cadences.
Figure7.4.3.
Figure7.4.4.Pink, Bhasker, and Ruess, “Just Give Me a Reason”
Figure7.4.5.Hozer-Byrne, “Take Me to Church”
Subsection7.4.3Examples of Deceptive Cadences
Figure7.4.6.Mozart, The Marriage of Figaro, “Voi che sapete”
Figure7.4.7.Kelly and Steinberg, “True Colors”
The following example, from the prelude to Act I of Richard Wagner’s opera Tristan und Isolde, is arguably one of the most famous deceptive cadences in the history of classical music.
Figure7.4.8.Wagner, Tristan und Isolde, Prelude to Act I
A deceptive cadence means \(\left.\text{V}\right.\) did not go to \(\left.\text{I}\right.\). This means that “\(\left.\text{V}\right.\) to not-\(\left.\text{I}\right.\)” is technically a more correct description for a deceptive cadence than \(\left.\text{V}\right.\)-\(\left.\text{vi}\right.\), which is the most common realization of “\(\left.\text{V}\right.\) to not-\(\left.\text{I}\right.\).”
In the example below, \(\left.\text{V}\right.\) goes to \(\left.\text{IV}\middle/\text{3rd}\right.\).
Figure7.4.9.Mozart, Ave Verum Corpus, K. 618
Subsection7.4.4Examples of Half Cadences
Figure7.4.10.Mozart, Eine kleine Nachtmusik, K. 525, I.
Figure7.4.11.Sheeran and Wadge, “Thinking Out Loud”
You may encounter chords with no thirds in rock and pop music. If you encounter a chord that has only a root and fifth, label it with a “5” after the root in lead sheet labeling (e.g., \(\left.\text{B}^{5}\right.\), as in the next example).
Additionally, you may encounter incomplete chords.
Definition7.4.12.
Incomplete chords are chords containing only the root and third but no fifth.
Figure7.4.13.Bieber, Blanco, and Sheeran, “Love Yourself”