The Three-Part Cadence Flashcards
The Simple Cadence in Three Voicesc
All cases are based on the leaping bass.
A perfect cadence can start with root and third in the upper voices and end with octaves when the third is in the soprano or end with root octave and third if starting with the tonic in the soprano.
An imperfect cadence can start and end with root and third in the top voices or can start with third and fifth in the upper voices and the third descending to the seventh en route to the final.
The Compound Cadence
The Compound Cadence is based on a 2-3 or 7-6 suspension in the upper voices.
The suspension and resolution can occur on either the compound step 5 (5/4-5/3) or the steps 4-5 (6/5-5/3).
The Three-Part Compound Cadence can start on a 5/3 on the tonic or a 6/3 on the third.
The Compound Cadence can have a deceptive ending but then cannot use a 2-3 in an upper voice since that would produce parallel fifths.
The Double Cadence
The a Double Cadence contains four chords over a sustained dominant pedal. It starts with a 5/3 or 7/3, followed by 6/4, 5/4-5/3.
The optional 7/3 is an incomplete dominant seventh characterized by the diminished fifth or augmented fourth between the third and the seventh.
The Gallant Cadence
Based on the bass pattern 1-4-5-1, this cadence is characterized by thirds in the upper voices
A scale degree 3 6/3 chord or scale degree 6 5/3 chord can replace the initial scale degree 1.
Scale degree 4 supports a 6/3 chord.
A Galant Half-Cadence often closes the antecedent phrase of a period.
The Compound Galant Cadence
Based on a 1-4-5-1 base pattern.
The chord on scale degree 5 supports a 6/4-5/3 in which the upper notes on the 6/4 are accented passing tones. The bass below the 6/4-5/3 often leaps an octave.
The Neapolitan Cadence
Characterized by the flatted second degree of the scale and the “Neapolitan turn b2-#7, which can be used in the bass, but is rarely used that way.
Is a variant of the Gallant Cadence.
It’s rhetorical meaning is an expression of pain, sorrow, or anger.
