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Cadences are divided into four main types, according to their harmonic progression: authentic (typically perfect authentic or imperfect authentic), half, plagal, and deceptive. Typically, phrases end on authentic or half cadences, and the terms plagal and deceptive refer to motion that avoids or follows a phrase-ending cadence.
A perfect authentic cadence in four-part harmony In music , I–IV–V–I or IV–V–I is a chord progression and cadence that, "unequivocally defines the point of origin and the total system, the key ."
Diagram of a typical period consisting of two phrases [5] [6] [7]. In Western art music or Classical music, a period is a group of phrases consisting usually of at least one antecedent phrase and one consequent phrase totaling about 8 bars in length (though this varies depending on meter and tempo).
Perfect authentic cadence (IV–V–I chord progression, in which we see the chords F major, G major, and then C major, in four-part harmony) in C major. "Tonal music is built around these tonic and dominant arrival points [cadences], and they form one of the fundamental building blocks of musical structure". [1]
The theme is in rounded, continuous binary form and is made up of two phrases, with the exposition beginning with the first musical phrase ending on a half cadence and the following phrase ending with a perfect authentic cadence resulting in a parallel period. The music is set in simple meter, with a 4/4 time signature throughout. Moving eighth ...
In this example, the leading tone of C major (B) resolves to the tonic (C) in a perfect authentic cadence. In music theory , a leading tone (also called subsemitone or leading note in the UK) is a note or pitch which resolves or "leads" to a note one semitone higher or lower, being a lower and upper leading tone, respectively.
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However, the other typical form of the Perfect Authentic Cadence, with the soprano descending to the tonic from the supertonic, cannot be created from a strict alternation of 1-5-8-10 and 1-3-5-8 because the supertonic forms the fifth of the dominant chord in that paradigm, and neither of these voicings contains the fifth in the soprano.