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Chapter Six
Cadences/Harmonic Rhythm
Cadences

A.
1 Phrygian Half iv 6 V 2 Plagal IV I 3 Authentic V I

4 Deceptive V vi 5 Half IV V 6 Deceptive V VI 7 Plagal iv i

8 Authentic V i 9 Half IV V 10 Phrygian iv 6 V

B. 1 C: Plagal or F: Half 6 b: Plagal


2 Ab: Authentic 7 d: Deceptive
3 G: Deceptive 8 c: Phrygian
9 E: Plagal or A: Half
4 Bb: Deceptive
10 f#: Authentic
5 eb: Authentic

C. a 6 4
6
C: I vi V I V2 I IV IV - I (Plagal) V
4 6
I6 V 2 I I V vi X* X* - V (Half) I

vi IV vi ii 7 V - I (Authentic)

* Disregard these chromatic chords. Blanks should not have been


provided for them. The cadence is half. Remember that any cadence
ending on a V is a half cadence.
b 4
6 7
f: V5 i V2 i6 ii o6 V - VI (Deceptive)

D.

? b # www www b b ww www # # # www www # www # ww ww


1 2 3 4 5
b bbb w w b b b www w

w 8 w w ww
? n www ww # # # # www ww # # # # ww ww # www www
6 7 9
w ww
10
nn w # bb w
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Harmonic Rhythm

A.

12
1 2 3

&b 8
œœœ œ œ œœœ œ œ œœœ œ œ œœœ œ œ œœœ œ œ œœœ œ
œœ œ œ œ œ œ
? 12 ∑
b 8 ˙. œ ‰œ ‰ ˙. œ. œ.
F: I7 iii
4 5 6 AbMaj7

&b œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœ œ œ bœ œ bœ œ œœ œ œ œ œ œ œ
œ œ œ œ œ
? œ
b ˙. œ ‰ ‰ b˙ . œ ‰œ ‰
b˙ . œ ‰ ‰

IV

7 GbMaj7 8 D7 9 GMaj7
&b bœœœ œ œ œ œœ œ œ œ œ œ œ œ œ œ œ œ nœ œ#œœ œ œ œœœ œ
bœ œ œ #œ œ œ œ
? b˙ . œ ‰b œ ‰ ˙ . œ ‰# œ ‰ ˙ . œ ‰œ ‰
b

10 11 12

&b b œ œœ œ œ œœ œ œ œ œ œœ œ œ œ œ œ œ œ œ œœ œ œ œ œ œ œ
œ œ œ œ œ œ œ
? b˙ . œ ‰œ ‰ ˙. ˙. ˙. œ ‰ ‰
b
œ
V7
13

&b
œ œ œ œ œ œœ œ œ œ
œ œ
?
b ˙. œ ‰œ ‰
I7 IV V7
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Harmonic rhythm: Aside from the opening measure and the final three measures, chords
change on every fifth beat, creating the quadruple meter. (Measure 8 can be regarded as
a single harmony.)

B.
a 4
4 q\
Only in this metric framework do both final cadence chords end on a beat stronger
than that of the preceding chord. The dotted quarter note or half note in the
melody spans a bar line in two of the meters, rendering them impossible.
6
U U
G: I | I V I IV 6 | I 6 V I IV | V IV I IV | V I
AC AC

b
4
q\
4
Well, the meter signature has inadvertently been left in. Harmonic rhythms
(chord changes) in this excerpt occur every two or four beats, making a quadruple
(or duple) meter likely. Again, the notation of the melody as given would be
impossible in triple meter, whether beginning on beat one or beat three. In the
appropriate meter, chord changes occur on strong beats, as do cadence chords.