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

2. 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?

3. 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

4. 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

5. 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

6. 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