9.1: Basic Cadences Introduction
- Page ID
- 325180
\( \newcommand{\vecs}[1]{\overset { \scriptstyle \rightharpoonup} {\mathbf{#1}} } \)
\( \newcommand{\vecd}[1]{\overset{-\!-\!\rightharpoonup}{\vphantom{a}\smash {#1}}} \)
\( \newcommand{\dsum}{\displaystyle\sum\limits} \)
\( \newcommand{\dint}{\displaystyle\int\limits} \)
\( \newcommand{\dlim}{\displaystyle\lim\limits} \)
\( \newcommand{\id}{\mathrm{id}}\) \( \newcommand{\Span}{\mathrm{span}}\)
( \newcommand{\kernel}{\mathrm{null}\,}\) \( \newcommand{\range}{\mathrm{range}\,}\)
\( \newcommand{\RealPart}{\mathrm{Re}}\) \( \newcommand{\ImaginaryPart}{\mathrm{Im}}\)
\( \newcommand{\Argument}{\mathrm{Arg}}\) \( \newcommand{\norm}[1]{\| #1 \|}\)
\( \newcommand{\inner}[2]{\langle #1, #2 \rangle}\)
\( \newcommand{\Span}{\mathrm{span}}\)
\( \newcommand{\id}{\mathrm{id}}\)
\( \newcommand{\Span}{\mathrm{span}}\)
\( \newcommand{\kernel}{\mathrm{null}\,}\)
\( \newcommand{\range}{\mathrm{range}\,}\)
\( \newcommand{\RealPart}{\mathrm{Re}}\)
\( \newcommand{\ImaginaryPart}{\mathrm{Im}}\)
\( \newcommand{\Argument}{\mathrm{Arg}}\)
\( \newcommand{\norm}[1]{\| #1 \|}\)
\( \newcommand{\inner}[2]{\langle #1, #2 \rangle}\)
\( \newcommand{\Span}{\mathrm{span}}\) \( \newcommand{\AA}{\unicode[.8,0]{x212B}}\)
\( \newcommand{\vectorA}[1]{\vec{#1}} % arrow\)
\( \newcommand{\vectorAt}[1]{\vec{\text{#1}}} % arrow\)
\( \newcommand{\vectorB}[1]{\overset { \scriptstyle \rightharpoonup} {\mathbf{#1}} } \)
\( \newcommand{\vectorC}[1]{\textbf{#1}} \)
\( \newcommand{\vectorD}[1]{\overrightarrow{#1}} \)
\( \newcommand{\vectorDt}[1]{\overrightarrow{\text{#1}}} \)
\( \newcommand{\vectE}[1]{\overset{-\!-\!\rightharpoonup}{\vphantom{a}\smash{\mathbf {#1}}}} \)
\( \newcommand{\vecs}[1]{\overset { \scriptstyle \rightharpoonup} {\mathbf{#1}} } \)
\(\newcommand{\longvect}{\overrightarrow}\)
\( \newcommand{\vecd}[1]{\overset{-\!-\!\rightharpoonup}{\vphantom{a}\smash {#1}}} \)
\(\newcommand{\ket}[1]{\left| #1 \right>}\)
\(\newcommand{\bra}[1]{\left< #1 \right|}\)
\(\newcommand{\braket}[2]{\left< #1 \vphantom{#2} \right| \left. #2 \vphantom{#1} \right>}\)
\(\newcommand{\braopket}[3]{\left< #1 \vphantom{#2}\vphantom{#3} \right| #2 \vphantom{#1}\vphantom{#3} \left| #3 \vphantom{#1}\vphantom{#2} \right>}\)
\(\newcommand{\qmvec}[1]{\mathbf{\vec{#1}}}\)
\(\newcommand{\op}[1]{\hat{\mathbf{#1}}}\)
\(\newcommand{\expect}[1]{\langle #1 \rangle}\)
\(\newcommand{\dfn}[1]{\emph{\textbf{#1}}}\)
By the end of this chapter, you will be able to:
- Explain the difference between an inconclusive and conclusive cadence

- Describe qualities of three major cadences
- Identify by sound three major cadences
Cadences
Cadences are a combination of triads at the end of a phrase that either conclude the musical idea or help it to continue into the next phrase. Cadences help establish the tonal center of the piece or passage.
Key Terms
- Cadence: the combination of triads at the end of a phrase that helps establish the tonal center of a piece or passage
- Inconclusive Cadence: a combination of triads that continues the musical momentum to the next phrase
- Conclusive Cadence: a combination of triads that conclude a musical phrase or idea
- Perfect Authentic Cadence: a cadence made up of a dominant chord as the first chord and a tonic chord as the second chord. Both chords must be in root position and we must hear do in the top voice of the tonic chord
- Imperfect Authentic Cadence: a cadence made up of a dominant chord as the first chord and a tonic chord as the second chord. Chords can be in any inversion and have any chord tone in the top voice
- Half Cadence: a cadence made up of any chord as the first chord and the dominant chord as the second chord


