Cadences and Nonharmonic Tones

1. Cadences and Nonharmonic Tones Chapter 5

2. Harmonic Cadence • The end of a musical phrase • Can be compared to punctuation • 5 types

3. Perfect Authentic Cadence • V – I • Compared to period at the end of sentence • Both chords must be in root position • The root of the I chord must be in the soprano

4. Imperfect Authentic Cadence • V – I • Slightly weaker than perfect authentic • Does not satisfy the requirements of perfect authentic • Substitutes vii° triad for V

5. Half Cadence • Ends with V chord • Compared to question mark • Most common – I-V, IV-V, ii-V

6. Plagal Cadence • IV – I • Amen cadence • Rarely ii⁶ - I

7. Deceptive Cadence • V – something other than I • Most common – V-vi

8. Nonharmonic Tones • Tones that do not fit in the harmonic chord • Creates dissonance • Should not be considered when doing Roman numeral analysis • Can be accented or unaccented

9. Passing Tones • Fills in the interval of a 3rd • Can be accented or unaccented • Abbreviation: PT

10. Neighbor Tones • Upper or lower neighbor of two repeated tones • Can be accented or unaccented • Abbreviation: NT

11. Escape Tones • Step up followed by a skip of a 3rd down • Only unaccented • Abbreviation: ET

12. Anticipation • Anticipates the next chord tone • Only unaccented • Abbreviation: ANT

13. Suspension • Suspends a chord tone from the previous chord and resolves down • Consists of preparation, suspension, and resolution • Identified by the interval above the bass • Types: 9-8 7-6 4-3 • Only accented • Abbreviation: SUS

14. Retardation • Suspends a chord tone from the previous chord and resolves up • Only accented • Abbreviation: RET

15. Appoggiatura • Approached by skip and resolved by step in the opposite direction • Only accented • Abbreviation: APP

16. Changing Tones • Combination of upper and lower neighbor tone • Also called double neighbor tones • Abbreviation: CT

17. Pedal Tone • Held or repeated note as chords change • Usually in lowest voice • Abbreviation: PD