Cadences and Nonharmonic Tones

Chapter 5

Harmonic Cadence

• The end of a musical phrase• Can be compared to punctuation• 5 types

Perfect Authentic Cadence

• V – I• Compared to period at the end of sentence• Both chords must be in root position• The root of the I chord must be in the soprano

Imperfect Authentic Cadence

• V – I• Slightly weaker than perfect authentic• Does not satisfy the requirements of perfect

authentic• Substitutes vii° triad for V

Half Cadence

• Ends with V chord• Compared to question mark• Most common – I-V, IV-V, ii-V

Plagal Cadence

• IV – I• Amen cadence• Rarely ii⁶ - I

Deceptive Cadence

• V – something other than I• Most common – V-vi

Nonharmonic Tones

• Tones that do not fit in the harmonic chord• Creates dissonance• Should not be considered when doing Roman

numeral analysis• Can be accented or unaccented

Passing Tones

• Fills in the interval of a 3rd

• Can be accented or unaccented• Abbreviation: PT

Neighbor Tones

• Upper or lower neighbor of two repeated tones

• Can be accented or unaccented• Abbreviation: NT

Escape Tones

• Step up followed by a skip of a 3rd down• Only unaccented• Abbreviation: ET

Anticipation

• Anticipates the next chord tone• Only unaccented• Abbreviation: ANT

Suspension

• Suspends a chord tone from the previous chord and resolves down

• Consists of preparation, suspension, and resolution

• Identified by the interval above the bass• Types: 9-8 7-6 4-3• Only accented• Abbreviation: SUS

Retardation

• Suspends a chord tone from the previous chord and resolves up

• Only accented• Abbreviation: RET

Appoggiatura

• Approached by skip and resolved by step in the opposite direction

• Only accented• Abbreviation: APP

Changing Tones

• Combination of upper and lower neighbor tone

• Also called double neighbor tones• Abbreviation: CT

Pedal Tone

• Held or repeated note as chords change• Usually in lowest voice• Abbreviation: PD