chapter 10- cadences

Question 1

the ways in which a composition is shaped to create a meaningful musical experience for the listener

Answer 1

form

Question 2

a harmonic goal (specifically the chords used at the goal)

Answer 2

cadence

Question 3

cadence consisting of a tonic triad preceded by some form of V or vii dimin.

Answer 3

authentic cadence

Question 4

V-I or V7-1 progression WITH BOTH THE V AND I IN ROOT POSITION and the 1 in the melody over the I chord (1 in soprano)

• the most “final sounding” and popular

Answer 4

PAC

Question 5

any authentic cadence not an PAC (3 kinds)

Answer 5

IAC

Question 6

same as PAC (V-I, V7-1 in root position) except 3 or 5 is in the melody over the 1 chord instead of 1

• most “final sounding” IAC

Answer 6

root position IAC

Question 7

V7-I, but with either or both chords inverted

Answer 7

inverted IAC

Question 8

some form of vii dimin- I (the viio substitutes the V chord)

Answer 8

***leading tone IAC, must be able to identify this one specifically!!

Question 9

when the ear expects a V-I authentic cadence but instead hears V-? instead

the ? is typically a submediant triad

• very unstable feeling produced and is never used to end tonal work, usually used to extend it a few measures until it reaches the true cadence
• WILL NOT END ON TONIC
• ends in minor (typically V-vi)

Answer 9

deceptive cadence

Question 10

• unstable, progressive cadence
• ends in V (deceptive is V-? typically V-vi) and can be preceded by any other chord
• ends in major (V)
• ex. 3-6-2-4-5

Answer 10

half cadence

Question 11

• MINOR!!
• iv6-V

Answer 11

phrygian half cadence

Question 12

• typically involves IV-I progression
• usually final sounding but not as important as authentic cadence, usually added on as a kind of tag following a PAC
• “Amen” sung at end of hymns

Answer 12

plagal cadence

Question 13

tonic (conclusive)

Answer 13

authentic, plagal

Question 14

not tonic (not conclusive), progressive

Answer 14

deceptive, half/phrygian half

Question 15

contains leading tone

Answer 15

authentic, deceptive

Question 16

does not contain leading tone

Answer 16

plagal, half/phrygian half

Question 17

the smallest identifiable musical idea- rhythm, pitch, or both

Answer 17

motive

Question 18

• labeled in lowercase!!!!
• a relatively independent musical idea terminated by a cadence
• usually constructed of two or more distinct portions called subphrases

Answer 18

phrase

Question 19

• two phrases, combined if they seem to go together as a musical unit and if the second phrase ends with a more conclusive cadence than the first

Answer 19

period

Question 20

• just like periods except that each half of the structure consists of two phrases rather than just one

Answer 20

double periods

Question 21

• does not produce a new kind of formal unit and should not be confused with a period or double period

Answer 21

repeated phrase/repeated period

Question 22

• a group of phrases that seem to belong together without forming a period or double period

Answer 22

phrase group

Question 23

a musical unit consisting of an initial musical idea, a repetition, or variation of that idea and a subsequent passage that moves to a cadence

• typically organized as a single phrase (or variable length) although long sentences may contain more than one phrase

Answer 23

sentence

Question 24

most important identifier for cadences- the last 2 notes
- to be phrygian half, MUST BE MINOR

Answer 24

a PAC has to be literally a perfect V or V7- I, if you get V6-I it cannot be a PAC

Question 25

relatively independent musical idea terminated by a cadence (constructed of two or more subphrases)

Answer 25

phrase