AP Music Theory Mr. Silvagni Cadences AP Music Theory Mr. Silvagni

Scale degree tones Stable tones – scale degrees 1, 3, 5, 2 Active tones – scale degrees 6, 4, 7 Tendency tones to resolution tones Scale degrees 4 to 3 and 7 to 1 What chords reinforce these tones?

Chord Function Functions refers to the placement of the chord within the key Tonic function I i and vi VI Subdominant or Predominant function IV iv and ii iio Dominant function V and viio

Cadences A cadence is the harmonic, melodic, and rhythmic conclusion to a phrase Authentic Cadence – dominant (V or V7) to tonic (I or i) Perfect Authentic Candence (PAC) – both V and I are in root position; the I chord must double the root; the soprano line must step to Do (Re-Do or Ti-Do) Imperfect Authentic Cadence (IAC) – one or both of the chords are inverted; the soprano line does not step to Do; the I chord does not double the root; or V is replaced with viio6

Cadences Plagal Cadence (PC) – the subdominant (IV or iv) to tonic (I or i); also referred to as the “Amen” cadence as it is often used in church music Deceptive Cadence (DC) – the dominant (V) resolves to the submedient (vi or VI); the vi chord doubles Do to add to the deception; also referred to as an interrupted cadence

Cadences Half Cadence (HC) – ends on the dominant (V); an inconclusive cadence as the progression ends with the tension of the dominant chord; will be followed by another phrase of music Phrygian Half Cadence (PHC) – subdominant in first inversion (iv6) to dominant (V) only in minor; the bass line is a half step from Le to Sol