Unit 6-3: Harmonic Cadences

Lesson Objectives

By the end of this lesson, students will be able to:

Describe the difference between each of the following harmonic cadences commonly used in common-practice repertoire: perfect authentic, imperfect authentic, half, plagal, and deceptive.
Identify examples of each of the above cadences in examples from the repertoire.
Describe the expressive uses of harmonically open and closed cadences.

"Cadences" (Turek, Today's Musician, pp. 79–86)
"Cadence" (Kaitlinbove.com) - Just read the first section on cadences for a quick summary of the cadences presented in Turek.
Optional: "Cadence" and "Undermining Cadences" from A New Approach to Music Theory by Lex Rozin & Mark Rimple

A short introduction to authentic cadences, focusing on how they create a sense of resolution.

A further exploration of different cadence types.

Assignment 6-3

Definitions: Define each of the following cadence types: Perfect Authentic, Imperfect Authentic, Half, Plagal, and Deceptive. Note the Roman numerals that are used, whether the cadence is conclusive or inclusive (and how that conclusiveness compares to the others), and describe the aesthetic effect of each. Why might a composer choose one cadence over another to end a phrase?
Music as Language: Julian Velard repeats the common analogy that cadences are like musical punctuation marks. Authentic cadences are like periods, half cadences act like commas or question marks . . . What can this analogy tell as about the relationship between music and language? Is music indeed a language because it seemingly has grammatical structures like punctuation? Is it only like language in some ways?

Cadence in "A Whole New World": In groups, analyze the cadence types used in the second half of the song "A Whole New World" from the Disney motion picture, Aladdin. (Score PDF | Audio ). Begin by listening to the song and using your ear to mark cadence points, then identify each by type as Perfect Authentic, Imperfect Authentic, Half, Plagal, or Deceptive. Once all of the cadences are identified, discuss the expressive impact of each throughout the section. Here are some guiding questions:
- - What cadence type and location creates the greatest sense of surprise for you? Why do you think Alan Menken elected to use that cadence there?
  - Menken uses different kinds of closed cadences in this section. Which type (authentic vs. plagal) feels stronger to you, and why do you think Menken used each in those moments?
  - Note a moment where there is phrase elision at a cadence point (the way the vocal line is written in this songbook version might be a hint). What kind of feeling does that moment of elision elicit?
  - Bonus: if you find yourself with some time to ponder further, listen back to the excerpt again, but focus on Danny Troob's orchestration. Do you notice him doing anything particular at cadence points in terms of creating counterpoint or texture? How do those choices in orchestration & arrangement contribute to the emotional impact of the song?
Worksheets: Practice identifying and writing Authentic and Half cadences with this worksheet from Open Music Theory.

Cadences in Repertoire: Includes excerpts from the repertoire for practice identifying Perfect Authentic, Imperfect Authentic, Half, Plagal, and Deceptive cadences.

Go to Anthology

Next Lesson: Embellishing Tones

For a discussion of how cadences vary in popular music, check out the article "The Cadential IV in Rock" by David Temperley.

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