Most (left) to least (right) Day 19 – Cadences Stability chart – Most (left) to least (right) G B D A E C F# G Look at G: 4 (Fa) must go to 3 (Mi) 7 (Ti) MUST go to 1 (Do)

Don’t use this chord. It doesn’t function well. I and VI VI and ii V and vii Notice there is NO III. Don’t use this chord. It doesn’t function well. 99. Tonic Function Chords Serve as “home”, final sounding. I and VI 100. Predominant Function Chords Come before dominant. VI and ii 101. Dominant Function Chords Lead very strongly to Tonic. V and vii.

A rhythmic cadence generally elongates the rhythm to sound more final. Harmonic progression that creates a sense of finality or a stopping/breathing point. A rhythmic cadence generally elongates the rhythm to sound more final.

Types of Conclusive Cadences (3) Cadence that ends on Tonic (I). Types of Conclusive Cadences (3) 104. Perfect Authentic Cadence (PAC) V  I Both root position, “Do” in Soprano 105. Imperfect Authentic Cadence (IAC) V  I or vii  I or there is an inversion, or Do is not in Soprano

PAC PAC IAC IAC IAC IAC IAC

IV  I “Amen” 106. Plagal Cadence

Types of Inconclusive Cadences (3) Cadence that does NOT end on Tonic (I). Types of Inconclusive Cadences (3) 108. Half Cadence (HC) Any cadence that ends on V. (Weak) 109. Phrygian Half Cadence iv6  V in minor (most minor half)

V to any chord other than I (usually VI) V to any chord other than I (usually VI). Expect Tonic but it “deceives” you. 110. Deceptive Cadence

V  I V  I or vii  I, not perfect IV  I V  anything but I (usu. VI)

anything  V minor: iv6  V