8,720
edits
Changes
m
A An <u>interrupted or deceptive cadence</u> is a V-vi or V-VI progression, commonly using V{{7}}. Creates This creates a weak or suspended feeling, similar to the half cadence.
→Cadences
|Music Theory - Diatonic Chord Progressions#Interrupted/Deceptive Cadence|Deceptive}}
An <u>Authentic Cadence</u> is a dominant-tonic progression. The [[Seventh 7th Chords|dominant 7th (covered later in a later lesson)]] can be used in place of the dominant triad. A <u>''perfect'' authentic cadence</u> must use the V or V{{7}} chord as the dominant, have both chords in root position, and voice the tonic note in the tonic chord in the highest voice. An <u>''imperfect'' authentic cadence</u> is similar, but breaks one or more of the above conditions. It may substitute the vii{{dim}} chord for the V.
=== Half Cadence ===
|Music Theory - Diatonic Chord Progressions#Interrupted/Deceptive Cadence|Deceptive}}
A ''<u>Half Cadence'' </u> is a progression that moves from basically any chord to the V chord, leaving a sense of unresolved tension. The cadence is still designed to indicate the end of a phrase or musical idea, but it begs for continuation, either through a repetition or another idea/section.
=== Plagal Cadence ===
|Music Theory - Diatonic Chord Progressions#Interrupted/Deceptive Cadence|Deceptive}}
A ''<u>Plagal Cadence'' </u> is a IV - I progression, also called the "Amen Cadence" because of its frequent use in church hymns. Because there is no leading tone to tonic movement, the cadence does not imply tonality. For instance a I-IV-I progression could also be interpreted as a V-I-V progression. In this way, it is a weak resolution, but a resolution to tonic, nonetheless.
=== Interrupted/Deceptive Cadence ===
|Music Theory - Diatonic Chord Progressions#Interrupted/Deceptive Cadence|Deceptive}}
{{top}}