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Changes
m
eE-0---1---0---0---1---3---0-- bB-1---1---0---1---3---3---1-- gG-0---2---0---2---2---0---0-- dD-2---3---2---2---0---0---2-- aA-3-------2---0-------2---3-- eE---------0-----------3------
→Authentic Cadence
C F Em Am Dm G C
I IV iii vi ii V I
Every chord leads into the next pretty seamlessly. Notice we basically have 2 passes through the tonic - subdominant - dominant - tonic paradigm of harmonic function. I-IV-iii-vi and vi-ii-V-I.
|Music Theory - Diatonic Chord Progressions#Cadences|Cadences}}
'''Cadences''' are harmonic devices to create a sense of resolution for the end of a progression. There are several types, based on the chords involved, as well as their voicing.
=== Authentic Cadence ===
|Music Theory - Diatonic Chord Progressions#Interrupted/Deceptive Cadence|Deceptive}}
An '''Authentic Cadence''' is a dominant-tonic progression. The [[7th Chords|dominant 7th (covered later in a later lesson)]] can be used in place of the dominant triad. A '''''perfect'' authentic cadence''' 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 '''''imperfect'' authentic cadence''' is similar, but breaks one or more of the above conditions. It may substitute the vii{{dim}} chord for the V.
=== Half Cadence ===