Perfect Authentic Cadence (PAC)
Imperfect Authentic Cadence (IAC)
Half Cadence (HC)
Phrygian Cadence (PhC)
Plagal Cadence (PC)
Deceptive Cadence (DC)
You may use your textbook or other resources to find the specific definitions of these terms. Be able to identify where there seems to be a cadence in each example (the textbook author marks some of them), and discuss each cadence's harmonic and melodic characteristics.
Each of these types is represented at least once in the handout (most are from the textbook). Audio examples can be found at the links below.
- Robert Schumann "Folk Song," op. 68 (this is the recording from the textbook)
- Josephine Lang, "Arabesque" mm. 1-16
- Mariana Martines, Sonata in E, first movement, mm. 1-23
- Telemann, Violin Fantasia no. 5 in A Major, mvt.2 (complete movement)
- F.J. Haydn, Piano Sonata in C Major, Hob.XVI:35, mvt. 1, mm. 1-16
- George Frideric Handel, "And the Glory of the Lord" from Messiah, ending
- (This organ recording is the only one I could find with the same arrangement of voices. However, it's a bit hard to hear the soprano voice in the texture. You will really need to focus on the top voice in your mind's ear. Consider each fermata to represent a cadence. They are NOT all in the same key. We will learn about specific techniques of modulation--key changes--later on, but your ear should be able to tell you what the key is for now.)
- W.A. Mozart, String Quintet K. 614, mvt. 1, opening
- Listen to this example several times until you are sure you understand where there are pausing points in the music. It won't be obvious from just looking at the score.
You may listen to other examples in the textbook at the following link: http://highered.mheducation.com/sites/0073137944/information_center_view0/index.html
From the box labeled "Online learning center" on the left, click "Student Edition." Then, on the top left, choose "mp3s" from the drop-down menu, followed by the specific chapter or "Anthology." Some chapters have a pdf for Additional Study
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