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perfect authentic cadence
V to I in major keys
V to i in minor keys
most be in root position
imperfect authentic cadence
highest sounding note is not tonic
vii diminished to one instead
one or both are inverted
half cadence
second chord is a V
phrygian half cadence
iv6 to V in minor keys
plagal cadence
IV to V in major keys
iv to i in minor keys
ii6 to I in major
deceptive cadence
V is first, second is not I
rhythmic cadences
often end with a longer note then the prevailing note values
passing tone (terms of C)
CDE or CBA
neighboring tone (terms of C)
CBC or CDC
escape tone (terms of C)
CDB
appoggiatura
CED
suspension
CCB
retardation
CCD
anticipation
CBB or CDD