A phrase in a Bach chorale ends on the chord V without resolving to I. What type of cadence is this?
AAuthentic cadence — it uses the dominant chord, which defines authentic cadences
BPlagal cadence — because it doesn't arrive at tonic
CHalf cadence — it ends on V, creating a comma-like pause that leaves the phrase open and expecting continuation
DDeceptive cadence — because ending on V rather than I is unexpected
A half cadence ends on V, creating a feeling of incompletion — like a question left unanswered. It is often described as a comma in musical syntax: a pause that signals more is coming. An authentic cadence moves V→I (resolving to tonic). Plagal moves IV→I. A deceptive cadence begins the V→I motion but resolves to vi instead of I. The defining feature of a half cadence is not that it avoids tonic (so does a deceptive cadence), but that it arrives on V with a sense of temporary rest.
Question 2 Multiple Choice
Why does the authentic cadence (V→I) create a stronger sense of finality than the plagal cadence (IV→I)?
AAuthentic cadences are more familiar to listeners, so the convention alone produces the sense of finality
BThe dominant chord contains a tritone — between the leading tone and the fourth scale degree — whose directed resolution creates powerful harmonic tension; the subdominant chord lacks this leading tone and tritone
CAuthentic cadences always use root-position chords, producing a stronger bass line than the inversions common in plagal cadences
DThe authentic cadence approaches tonic from above in pitch, which sounds more conclusive than the plagal approach from below
The answer lies in the tritone within the dominant chord. In a major key, the dominant seventh chord contains the leading tone (scale degree 7, a half step below tonic) and the fourth scale degree — an interval of a tritone. Both notes have strong directional pull: the leading tone resolves up to tonic, scale degree 4 resolves down. This double-resolution drives the V→I motion with urgency. The subdominant chord (IV) contains neither the leading tone nor this tritone, so its motion to tonic is gentle and undirected — confirming arrival rather than demanding it.
Question 3 True / False
Identifying the cadences in a piece is often the first step in phrase structure analysis, because cadences mark phrase boundaries.
TTrue
FFalse
Answer: True
Phrases in tonal music are defined by their cadential endpoints — the grammatical punctuation that signals where one musical sentence ends. Finding the V→I or IV→I progressions (and half cadences, deceptive cadences, etc.) locates the phrase boundaries. From there, one can measure phrase lengths, observe phrase groupings, and analyze how composers manipulate cadential expectations through delay, substitution (deceptive cadence), or extension. Cadence analysis is the skeleton on which all other formal analysis hangs.
Question 4 True / False
The plagal cadence (IV→I) is the most common formula for ending major sections and movements in Common Practice period music.
TTrue
FFalse
Answer: False
The authentic cadence (V→I) is overwhelmingly the dominant cadential formula in Common Practice music — nearly every major section and movement ends with it. The plagal cadence occupies a subordinate role: it typically appears as a post-cadential extension ('Amen') after an authentic cadence has already provided the main resolution, or in hymn and modal contexts where its gentle, non-leading-tone quality is stylistically appropriate. Its comparative rarity reflects its softer character — it confirms arrival but cannot create it.
Question 5 Short Answer
What is the difference between a perfect authentic cadence (PAC) and an imperfect authentic cadence (IAC)? What does this difference reveal about how chord position and melody shape the sense of finality?
Think about your answer, then reveal below.
Model answer: Both are V→I cadences, but they differ in strength. A perfect authentic cadence requires both chords in root position and the soprano (melody) ending on the tonic note — this is the strongest possible conclusion. An imperfect authentic cadence uses V→I with at least one of these conditions unmet: either a chord is inverted, or the soprano ends on scale degree 3 or 5 rather than 1. The result is still a conclusive V→I resolution, but softer — like ending a spoken sentence with the voice still slightly raised. This demonstrates that finality is not binary; it exists on a spectrum shaped by voice leading, bass position, and melodic destination.
The PAC/IAC distinction is practically important for analyzing phrase endings. A PAC signals a clear, strong close — typically at the end of a major structural section. An IAC is used for phrase endings that are conclusive enough to mark a boundary but not emphatic enough to feel like a full stop, often at the end of a sub-phrase within a larger period. Composers control the degree of finality they want at each structural level by choosing among these cadential weights.