7 Cadences Employing the Tonic,

Subdominant, and Dominant

Triads in Root Position
Progressions that are used to articulate the ends of phrases (points of arrival or rest in the musical flow) are
termed cadences. For a complete discussion of cadences, see Part V, Unit 13. Tonal music is built around these
tonic and dominant arrival points, and they form one of the fundamental building blocks of musical structure.

I. A perfect authentic cadence (P.A.C.), or full cadence, employs the progression V(or V7)–I, with the first scale-
degree in the soprano in the I chord. Both chords must be in root position.

A perfect authentic cadence is the strongest cadence and is used to mark important formal junctures in the
music, such as the ends of sections or periods.

II. An imperfect authentic cadence (I.A.C.) employs the progression V(orV7)–I, with the third or fifth scale-degree
in the soprano in the I chord.

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 An imperfect authentic cadence is weaker than a P.A.C. and signifies both harmonic arrival and likely con-
tinuation. Thus, it may be used as the medial cadence in a period and at those junctures where the composer
wishes to establish a weaker sense of closure.

III. A half cadence (H.C), or semi-cadence, employs a progression ending on V.

A half cadence is a relatively weak event, requiring continuation, since it is harmonically open-ended.

IV. A plagal cadence (P.C.) employs the progression IV–I.

A plagal cadence is generally a terminal cadence and indicates closure. It often follows a perfect authentic
cadence.

64 DIATONIC MATERIALS
Analysis
Analyze music assigned by the instructor. In addition to the items included to this point, consider the following:

1. What types of cadences are used, and where do they occur?

2. How long are the phrases?

3. Are the phrases related?

4. Do the phrases form a period? Of what type?

Exercises
1. Harmonize the following cadential basses and sopranos. Use a variety of voicings and spacings. Analyze
the scale-degrees in the soprano.

CADENCES EMPLOYING THE TONIC, SUBDOMINANT, AND DOMINANT TRIADS IN ROOT POSITION 65
 2. Cadential soprano lines. Harmonize in four voices, using a variety of voicings. Analyze chords and scale-
degrees in the soprano.

3. Cadential bass lines. Harmonize in four voices, using a variety of voicings. Analyze chords and scale-
degrees in the bass.

4. Realize the following figured basses. Work for smooth voice leading and well-shaped lines. Analyze
completely.

66 DIATONIC MATERIALS
5. Construct the following cadence formulas:

P.A.C. in E minor P.A.C. in A major

H.C. in B major P.C. in D minor
P.C. in A minor I.A.C. in G major
I.A.C. in F minor H.C. in C minor
H.C. in B minor P.A.C. in E major

6. Compose four-measure phrases ending with the following cadence formulas. Employ textures specified
by the instructor. Be attentive to harmonic rhythm, motivic consistency, and rhythmic continuity.

P.A.C. in D major
H.C. in G minor
I.A.C. in E major
P.C. in B major

7. Compose an eight-measure period for piano, the first phrase ending with an H.C. and the second with a
P.A.C. Edit fully and specifically, including tempo, phrasing, and dynamics. (Note: The following units in
Part V will be helpful: Unit 11, Unit 13, and Unit 17.)

CADENCES EMPLOYING THE TONIC, SUBDOMINANT, AND DOMINANT TRIADS IN ROOT POSITION 67