Music Theory Chapter 5: Cadences and Nonharmonic Tones

*sighs*

Phrase

A musical thought or sentence that typically concludes with a cadence.

Harmonic Cadence

A specific harmonic formula that punctuates the end of a musical phrase, section, or composition, providing a sense of punctuation, pause, or finality (analogous to commas or periods in language).

Authentic Cadence

Progression from Dominant (V or vii°) to Tonic (I).

Perfect Authentic Cadence (PAC)

Both the V (or vii°) and I are in root position, and the highest voice (soprano) lands on the tonic note (1) on the final chord.

Imperfect Authentic Cadence (IAC)

An authentic cadence where either the chords are inverted, the soprano ends on a scale degree other than 1 (such as 3 or 5), or the leading-tone chord is used instead of V.

Half Cadence

A cadence that ends on the Dominant (V) chord, creating an inconclusive pause (like a comma)

Phrygian Half Cadence

A specific type of half cadence in minor keys where a predominant chord in first inversion (iv6) moves to a root-position V, characterized by a half-step downward motion in the bass (e.g., in A minor, d6 → E).

Plagal Cadence

 Progression from Subdominant (IV) to Tonic (I) (IV → I), often associated with the "Amen" cadence in sacred music.

Deceptive Cadence

Progression where the expected dominant chord resolves to a chord other than the tonic, most commonly the submediant (V → vi), creating an unexpected extension of the phrase.

Rhythmic Cadence

The rhythmic profile or metric placement of the cadence chords, often involving longer note values or fermatas that impact the harmonic closure.

Evolution of Cadential Punctuation (prolly not important)

In early medieval and Renaissance polyphony, cadences were initially defined linearly as simultaneous interval progressions between voices (such as moving from a major sixth to an octave between the outer voices, known as the clausula vera or true cadence).

With the emergence of functional tonality in the Baroque period, cadences became strictly harmonic signposts, solidifying key centers and establishing clear formal divisions in binary and ternary structures.

Nonharmonic Tones FU-(Nonchord Tones)

Tones that sound alongside a chord but do not belong to the chord's tertian spelling. They typically create temporary dissonance that resolves smoothly to a chord tone by step or leap.

Evaluated by their metric placement (accented vs. unaccented) and how they are approached and left (step vs. leap).

Passing Tone (PT)

Approaches by step in one direction and leaves by step in the same direction, occurring on a weak beat or weak subdivision between two different chord tones.

Neighboring Tone (NT)

Approaches by step from a chord tone and returns by step to the same chord tone (can be upper neighbor or lower neighbor).

Anticipation (ANT)

A tone that leaves a chord tone early by step or leap to sound a note belonging to the subsequent chord ahead of time.

Escape Tone (ET)

Approaches by step from a chord tone and resolves by leaving via a skip or leap in the opposite direction.

Accented Passing Tone

Occurs on a strong beat or strong part of the beat while moving stepwise between two harmonic pitches.

Accented Neighboring Tone

Occurs on a strong beat, stepping away from a chord tone and returning by step.

Appoggiatura (APP)

Approaches by skip or leap (usually upward) and resolves by step (usually downward) on a strong beat.

Suspension (SUS)

A chord tone from a previous beat is held over (tied or repeated) to become a dissonance on a strong beat, which then resolves downward by step into a chord tone.

Standard Suspension Types: (labeled by the dissonant interval and its resolution): 4–3 suspension, 7–6 suspension, 9–8 suspension, and 2–3 suspension (in the bass).

Retardation

Similar to a suspension, but it resolves upward by step instead of downward.

Cambiata / Neighbor Group (Enclosure / Double Neighbor)

A decorative figure consisting of two consecutive nonharmonic tones that decorate a single chord tone; typically moving from a chord tone to an upper neighbor, leaping down past the chord tone to a lower tone, and stepping up to resolve on the chord tone.

Pedal Point (Organ Point)

A sustained or repeated pitch (usually in the bass voice) that remains constant while the overlying harmonies change through both consonant and dissonant combinations (most commonly built on the tonic or dominant).