Cadences in harmony

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Published on Sep 11, 2020
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Today's harmony video is about the different types of cadences. The first thing is to differentiate between conclusive and suspensive cadences (it's essential to know how to discern this by ear). In order for a cadence to sound final, it must be given on a tonic chord. But since a final tonic coming from a dominant or a subdominant is not the same, we will differentiate between the authentic cadence (VI) and the plagal cadence (IV-I). In order for a dominant-tonic ending to sound properly conclusive, both chords must be in the fundamental state, and the treble must end on the tonic note, not any other note in that chord. Otherwise, that ending will not sound completely convincing, and that is why we distinguish between the perfect authentic cadence and the imperfect authentic cadence, both of which are endings with the same two chords, but depending on the notes given by the bass and the treble, it can sound like a real ending, or not at all. The other suspensive cadences are the semicadence, which is any ending of a phrase outside the tonic, and gives the sensation of having been left halfway, and the broken cadence, which consists of an ending in which a dominant resolves irregularly to a degree that is not the expected tonic (generally V-VI), since it first creates an expectation of an ending that it then breaks. The proposed exercise is to harmonically code the chorales of the end and identify the cadences, although it can be much more educational if we first try to identify the cadences only by ear, and then code and check if our ear has been correct.

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