Chapter 10

Question 1

Cadence

Answer 1

a musical point of arrival, normally produced by harmonic and melodic means, articulates the end of a musical group.

Question 2

Cadence

element of formal articulation

Answer 2

sectional markers and define the tonal goal/direction of sections.

Question 3

Form

Answer 3

The tonal, rhythmic, and thematic relationship among units or sections.

Question 4

Authentic Cadence

Answer 4

a chord of the dominant family resolving to a tonic chord

Question 5

What chords are in the dominant family?

Answer 5

V, V7, V6, viio6

Question 6

What chords are tonic?

Answer 6

I, I6

Question 7

Examples of dominant chords resolving to tonic chords

Answer 7

V-I, V7-I, V6-I, V-I6, or viio6-I

Question 8

Perfect Authentic Cadence (PAC)

Answer 8

S.D.1 is in the top voice in the last chord, approached by step from S.D. 2 or S.D. 7, both dominant and tonic chords are in root position

Question 9

Imperfect Authentic Cadences (IAC)

Answer 9

1 or both of the chords is not in root position, or SD 1 is not in the top voice

Question 10

Leading Tone Cadence (IAC)

Answer 10

viio6-I cadence, common in Renaissance music

Question 11

Half cadence (HC)

Answer 11

a cadence on V often preceded by tonic or a pre-dominant chord

Question 12

Phrygian Cadence (Ph.C)

Answer 12

takes place in the bass between both SD 1 - SD 2 and SD 5 - SD 6.

Question 13

Plagal Cadence (PC)

Answer 13

a IV-I cadence
sometimes used to prolong final tonic PAC
After PAC, PC has the effect of strongly confirming the conclusion of a piece

Question 14

Deceptive Cadence (DC)

Answer 14

a cadential progression of the dominant to a chord other than the expected tonic
Major: V-vi Minor: V-VI
heard as an inconclusive harmonic motion