AP Music Theory Unit 5

Authentic Cadence (PAC)

A musical cadence that creates a strong resolution, moving from the dominant (V) to the tonic (I) chord. Both chords are root position and the soprano ends on tonic.

Imperfect Authentic Cadence

V to I chord again, but breaks one rule of perfect, either both chords aren’t in root position or soprano doesn’t end on tonic

Cadential 6/4

I 6/4 chord that resolves to V or I. ALL UPPER VOICES MUST RESOLVE DOWN and the bass in the 6/4 chord must be doubled. Not like FAC and F has to be doubled, but the lowest note C must be doubled.

Pedal 6/4

Bass note remains the same in both chords

Passing 6/4

Bass notes move in a step progression

Example: I → V6 → I6

Arpeggiated 6/4

A 6/4 chord where the bass note is arpeggiated. The rest of the harmony remains the same for both chords, only bass changes

Deceptive cadence

V chord resolves to a VI or vi chord, respectively

Half Cadence

A musical phrase that ends on the V chord, creating a sense of pause or incompleteness.

Phrygian half-cadence

A type of half cadence that uses the iv chord in the pre-cadential position, followed by the V chord. This occurs in MINOR ONLY.

Picardy Third

A major chord that replaces the expected minor chord at the end of a piece in a minor key, creating a bright resolution.

Plagal Cadence (Amen cadence)

A musical cadence that moves from the IV chord to the I chord. Hard to hear, but remember that the tonic is in both chords, so listen for that. R

Rules for part writing in 6/4

• Voices move only by step

• All bass notes (lowest note, not root note) are doubled

• Cadential all upper voices resolve down!!!!!!

minor key chord progression

VII (major 7) → III (major 3) → VI (major 6) → [ii (half-dim 2) OR iv (minor 4)] →(dominant function so V , vii dim, or I 6/4) → tonic

major key chord progression

iii → vi →ii / IV → V / vii(dim) / I 64 → I