Harmonic Cadences		Cadence Worksheet	Theory Things   William Wieland
As tonal goals, harmonic cadences resolve to stable chords, generally root position major or minor triads.
Authentic	V (7)   I	V (7)   i   (in minor)	vii° 6   – I  (vii° 6   – i)
This is the most important cadence. Resolve 7 to 8 and 4 to 3. If a musical phrase is a sentence, an authentic cadence is a period.		Perfect Authentic (2 criteria) – bass goes 5 to 1 – soprano ends on 1 Imperfect Authentic (all others) – inverted chords – vii° substituted for V	All cadences in functional tonality refer to V - I. (The plagal cadence is an elaboration of tonic.)
Half	? – V	I – V,  ii – V,  IV – V i – V,  ii° 6   – V,  iv – V   (in minor)	Phrygian:   iv 6   – V
A half cadence is a comma,		The Phrygian Half Cadence features a descending half step in the bass.
Deceptive	V (7)   vi	V (7)   VI   (in minor)	Rarely   V – IV 6
A deceptive cadence may fool you.		Like in an authentic cadence, 7 resolves to 8.
Plagal	IV – I	iv – i   (in minor)	Rarely   ii 6   – I
a.k.a. Amen cadence		Often heard after the final authentic cadence.
Authentic Cadence a.k.a. Full Close, Closed Cadence, Final Cadence and Full Cadence Half Cadence a.k.a. Half Close, Open Cadence, Imperfect Cadence, Semicadence and Incomplete cadence Deceptive Cadence a.k.a. Avoided Cadence, Broken Cadence, Interrupted Cadence and Irregular Cadence