9.3: Cadence Types
- Page ID
- 258517
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Within our two categories of conclusive or inconclusive cadences, we have more specific examples that follow certain rules. These rules apply to the triads that make up these cadences. From an ear training perspective, it is helpful to understand the theory behind these triads because it will help guide our ear to listen for specific elements. We can think of these chords or triads both as the quality of the chord, but also as the individual pitches in each chord.
For example, if I know that the dominant chord in a key is made up of the fifth scale degree (sol), the seventh scale degree (ti), and the second scale degree (re), then the presence of one of these pitches in the melody might also clue me in to what is happening harmonically. In the same way, I might find it easier to play back a melody in my head and choose the correct pitches for the end of the phrase if I can hear what cadence might be implied through the melodic line.
Conclusive Cadences
- Perfect Authentic Cadence (PAC)
- Imperfect Authentic Cadence (IAC)
Inconclusive Cadence
- Half Cadence (HC)