Additional Cadences

Question 1

Deceptive Cadence (V-vi or V-VI)

Answer 1

• the sixth chord can function as a tonic substitute
• the cadence can be strong or weak depending on the voicing. if voiced like a PAC the effect is stronger
• can be used to extend the phrase

Question 2

Plagal Cadence (IV-I or iv-i)

Answer 2

• most commonly the “amen” cadences
• many hymns end with the IV-I cadences with the test “A-men”
• subdominant chord can be used to extend the phrase (I6-IV-I)

Question 3

Phrygian half cadence (iv6-V)

Answer 3

• only found in minor mode
• the V is always approached by a iv6. The bass line descends by half step (♭6 to 5) evoking the Phrygian mode
• when attempting to add a Phrygian half cadence, make sure the bass is correctly voiced and that the soprano typically has the 4-5 scale degrees to balance the motion of the base (♭6-5)

Question 4

beginning of phrases

Answer 4

• opening of phrases have similar options as the cadence. keeping the tonic and dominant chords with Bass tones being either tonic or the 3rd, will help establish the tonic of the key for the piece
• anacrusis gives more options
• • can use a pick up to create a V-I motion for the first two chords to establish the key

Question 5

both the deceptive cadence and deceptive resolution are progressions moving from ____ to _____ in major and ____ to _____ in minor

Answer 5

• V to VI; V to VI

Question 6

are deceptive resolutions used as extensions of the tonic and tonic substitutions

Answer 6

• yes

Question 7

a deceptive cadence avoids the resolutions to the ______ chord

Answer 7

• tonic

Question 8

hymns often end with an “Amen” cadence, also known as the plagal cadence. this chord progression in a minor key is _____ to ____

Answer 8

• IV; I

Question 9

the phrygian cadence is only used in _____ keys. this half cadence is unique since it’s preceded by an inverted chord, the ______

Answer 9

• minor; iv6