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Perfect Authentic Cadence (PAC)
When the bass line goes 5-1 and the soprano line goes 7-1 or 2-1
Imperfect Authentic Cadence (IAC):
When the bass line resolves by step instead of 5-1 and the soprano ends on 3 or 5
Half Cadence
An Inconclusive cadence in which a phrase ends on V
Contrapuntal Imperfect Authentic Cadence
It's the same as imperfect cadence but with inversions
When establishing the tonic area, what are three ways you can expand upon the root position triad that appears at the very beginning of the phrase?
A.) Repeating or arpeggiating the tonic triad.
B.) Combining root-position and inverted triads.
C.) Adding passing tones and/or neighbor tones between chord members
What are four ways that you can use dominant chords to expand the tonic area?
A.) On weak beats like I-V-I with the V on the weak beat of 2
B.) In inversions which weaken their harmonic strength.
C.) With a bass line passing or neighbor motion between two tonic triads
D.) An anacrusis to the opening triad
Acceptable ranges for voice parts:
Soprano: C4-G5
Alto: G4-D5
Tenor: C3-G4
Bass: E2-D3
5 Doubling Guidelines:
1.) Never double a note with an accidental or a tendency tone: a scale degree or chord member that must be resolved, such as the leading tone or the chordal 7th
2.) In root position (major or minor quality), usually the bass (root) is doubled
3.) For first inversion, you can double any chord member that does not have an added accidental and is not a tendency tone.
4.) For second inversion, always double the bass
5.) For diminished triads (which often appear in first inversion), double the bass (the third of the chord). Occasionally, the fifth may be doubled.
The six guidelines for resolving a V or V6 chord:
1.) 7 resolves up by half step to 1, whether in an upper voice or the bass
2.) 2 moves by step, either to 3 or 1
3.) Because V and I share one note (5), this pitch is often retained as a common tone in the same upper voice. It may drop to 3 to complete the triad, but only in special instances
4.) In the upper voices, move the smallest possible distance to another chord tone, generally by step
5.) The leading tone should resolve up to 1
6.) No voice should move by a melodic interval that would be difficult to sing, such as A2, A4, or d5
When resolving V chords and/or connecting dominant and tonic areas, what needs to happen with the common tone (5)?
Keep the common tone (5) in the same voice (of the upper three voices) if possible, and move the other upper voices to the closest possible chord member by step or skip.
