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