Cadential Formulae - Perfect Cadences (78% of all cadences)

Preparing for chord V at a perfect cadence

There are 2 main ways to prepare for chord V at a cadence (also applies to interrupted cadences):

1. A chord containing the subdominant note:

   • Often best to use iib or ii7b

   • -Chord IV is also common but can easily cause parallel octaves and 5ths so be careful!!

     -Helps if melody and bass are moving in opposite directions.

     -Perhaps best to use a IVb at times

   • Sometimes chords such as vi can be used (but not as frequently)

2. Chord 1: often used in the 1st inversion or cadential 6/4 (IC)

2 - 1 (or 2 - 2 - 1) Perfect Cadence

1st Formula

ii⁷b - V - I (48% of all cadences feature this)

• The dissonance (7th note) MUST be prepared (in the same part) in the chord prior (this is the tonic note in the key)

• The leading note (generally in alto) must drop to the fifth

• Add a passing 7th (V⁷) - must fall though

• If an anticipation appears in the soprano (2 - (1)- 1) then the passing 7th should be a semiquaver

• Often approach the ii⁷b with a Ib or vi (can also use I)

2 - 1 (or 2 - 2 - 1) Perfect Cadence

2nd Formula

V^4-3 - I (Not as common as ii⁷b - V - I)

• Generally approached by I / Ib or V

• The suspension in the alto (4) MUST be prepared

• The suspension is the tonic not of the current key

• If an anticipation appears in the soprano (2 - (1) - 1) then the passing 7th (V⁷) should be a semiquaver

3 - 2 - 1 Perfect Cadence

1st and 2nd Formula

Ic - V - I (Or Ib - V - I):

• Double the 5th in the Ic

• Always include a passing 7th (If you can’t then something has gone wrong)

• If an anticipation is added (3 - 2 - (1) - 1) then passing 7th should be a semiquaver

• iib can be used to approach Ic

• The bass part should generally feature a lower auxiliary or an octave leap

8 - 7 - 8 Perfect cadence

All 4 Formulae

Ic - V - I (or Ib - V - I)

• Double the 5th in the Ic

• The tenor or alto will not vary in pitch

• In the case of an (8 - 8 - 7 - 8), the chord prior to the formula should be a vi

Can also use:

• ii⁷b - V - I Or IV - V - I

• In the case of an (8 - 8 - 7 - 8) cadence, the chord prior to the formula should be a Ib

4 - 3 - 2 - 1 Perfect Cadence (the 4 & 3 are quavers)

1st Formula

IV - V - I

• Includes a 4-3 suspension in the alto

• IV - V - I only works in a major key

• The tenor jumps to a doubled 5th to avoid parallel 5ths between soprano and tenor

4 - 3 - 2 - 1 Perfect Cadence (the 4 & 3 are quavers)

2nd Formula

IVb - IV - V - I

• Works in both major and minor

• Double the 5th of IVb

• The tenor jumps to a double 5th to avoid parallel 5ths between soprano and tenor

6 - 7 - 8 Perfect Cadence

1st & 2nd Formulae

IV - V - I OR IV - vii^ob - I

• This progression also works in the middle of a phrase

• Use vii^ob if mid choral and double the third

1 - 2 - 3 Perfect Cadence

Formula

Ib - V - I