Table of Contents

Section 3: 

Set theory
Rhythm/ form 
12- tone 
Polyrhythm
Metric modulation
Meter

Section 4: 

Basic Assumptions 
Motive, Phrase and Period
Cadence
Binary form
Ternary form
Rounded binary form
Sonata form
Rondo form
Theme and variation
Dance forms

Section 5: 

Basic assumptions 
and procedures
Harmony
Form and rhythm
Melody
Timbre

Section 6: Bibliography

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Cadence

Basic Concepts:

1.  A cadence is a harmonic and rhythmic object that resolves tension and ends a musical idea such as a phrase, section, or movement.  It is important to understand this first, before memorizing the types of cadences.  A V-I harmonic sequence is not necessarily a cadence.

2.  When analyzing cadences, allow the music to dictate where they are.  This means, look for the end of a phrase to see what happens.  Is there a definitive ending?  That is a cadence, even if it doesn't fit into one of the primary cadence types. Do not go shopping for V-I harmonic sequences and label them as cadences. This demonstrates a lack of understanding.

3.  One interesting aspect of non-tonal music is the treatment of cadences.  They will not fit the primary types, since the primary types are tonal by definition.

4.  Observe in the examples below that Roman numeral treatment of cadences simply follows conventional labeling of chords. There is not a special way to mark the cadences in Roman numeral analysis.

5.  Authentic Cadence: the cadence that resolves to tonic V (or V7)-I (or vii-I, vii being an extension of V, and therefore functioning as a dominant).  This is the cadence that usually ends a movement or a composition. Theorists classify two types of authentic cadence: the perfect authentic cadence (PAC) and the imperfect authentic cadence (IAC).  The difference lies in the inversion of the chords, and the voice-leading of the soprano.  The PAC has both chords (V and I) in root position, and the soprano approaches the tonic by step. The IAC is a V-I cadence that is missing one or more of these aspects.

6.  Deceptive Cadence: the cadence that progresses from V to vi (or VI if in a minor key).  The label "deceptive" may be understood to mean that the cadence sets up the listener to expect V to proceed to I, but deceives the listener by proceeding to vi. It is sometimes termed a "false" resolution.

6.  Half Cadence: the cadence that resolves to V.  The most common chords that lead to V in the half cadence are I 6/4 and V/V (secondary dominant). 

7.  Plagal Cadence: the cadence that proceeds IV-I. This is often explained as the "Amen" sung at the end of many hymns.

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