Cadences

1. Resolution

In the article “Harmonic Functions” 、The role of prime chords are categorized into three, namely, TDS.

Prograding or retrograding this functional “orbit” creates various stories of chord progressions. Above all, when to reach T is a very important factor.

In music theory, releasing musical tension (e.g. an unstable chord progresses to a stable chord, a dissonant sound becomes consonant) is generically called Resolution.

Resolution

The motion of a dissonant or unstable sound progress to the more consonant or stable sound which acts as its goal.

The term is used in melody theory as well. Used as verb too (=resolve).

In chord theory, reaching T functioning chords is a typical pattern of resolution.

2. Cadence

Resolution is often compared to punctuation. Reaching T is like putting a “period” in a musical line. And a fixed set of chords constituting resolution is called a Cadence.

Cadence

A set of chords (or phrases) that acts as musical “punctuation” for a chord progression by means of resolution, creating a sense of repose or relief¹.

The etymology of “cadence” is traced back to a Latin word “cadere” which means “to fall”. Many other words have the same origin e.g. “cascade”, “decay”, “accident”.

Jazz theory or Classical harmony theory (especially the latter) put importance on following the standardized “scenario” that listeners expect, as mentioned in history review in introduction.

Therefore these traditional theories have a number of cadences officially named.

Honestly speaking, however, I don’t think it necessary to memorize these terms in this day and age where diverse types of chord progressions are used freely in mixture.

That said, I’m gonna anyway introduce some famous ones since LMT make a declaration that it encompasses everything written in general popular music theory books. I’d like you to feel the differences by listening to samples, rather than just memorizing such names.

3. Famous Cadences

Authentic Cadence

First, V→I progression is named Authentic Cadence, for it’s the most typical pattern of resolution in classic chord progressions.

IVI

Authentic Cadence in Minor Key

In minor key, III_m→VI_m could be an authentic cadence, but….

VI_mIII_mVI_m

But actually it’s not. III_m, probably due to its dual-faced character, seems inferior in the ability to form the clear contrast between tension-release. Considering this, Classical music in principle uses III instead of IIIm, in order to strengthen its instability.

VI_mIIIVI_m

This is the authentic cadence in Classical minor. III can evoke a strong sense of emotional climax so releasing that tension works as a good “period” mark! III→VI_m cadence is ubiquitous in classical music like this:

VI_mIIIVI_m

Unexpectedly, Europeans in 18^th century were heavily quality-change-addicted😂

If you want to make a song in the manner of Classical music, just refraining from III_m or V and replacing them with III will make it sound a lot closer³.

Plagal Cadence

Next, IV→I progression is named Plagal Cadence.

IIVI

Plagal cadence constructs a much softer landing, which is mostly attributed to the fact that IV contain the tonal center as a member of chord tones.

While Classical music put less importance on plagal cadence, it’s often used at the very end of a hymn so sometimes this is also called Amen Cadence.

Plagal Cadence in Minor Key

In minor key, II_m→VI_m is the counterpart.

VI_mII_mVI_m

Deceptive Cadence

In Classical music, major key and minor key are strictly divided. So V progressing to VI_m instead of I is seen as kinda deceiving listeners, hence named Deceptive Cadence.

IVVI_m

But such a progression is nothing surprising in today’s music scene where the monism in tonality is common.

Half Cadence

Lastly, ending a part with V, without landing at I, can be work as a “comma” in music, which is called a Half Cadence.

IIVV

Half cadence is utilized in popular music too; ending a verse part with V can carry over the accumulated musical tension to the chorus part.

IIVIIVIIVV

Authentic, plagal, deceptive and half cadence. These four are the most famous cadences generally described in a theory book.

Picardy Cadence

Some cadences involve a quality change.The typical one is using VI as a replacement for VI_m in minor key.

VI_mII_mIIIVI

This is named Picardy Cadence. This interchange of VI was just introduced in the previous section as the one bringing a mood of hopeful ending.

IVVVI_mIII_mIVVVI

It is widely used not only in today’s popular music, but also in Classical music especially around 16-17^th century.

This is a song by Giacomo Carissimi_(1605-1674). You can find IVII_mVI progression at 0:31.

4. Authentic vs Plagal

Above all, the authentic cadence(V-I) and the plagal cadence(IV-I) forms a musical contrast—Whether reaching the I strongly or softly.

Now let’s listen again to some 4-chord loops and compare similar progressions that involves V-I or IV-I side by side.

It is often pointed out that in genres such as rock or reggae, plagal cadence is much more commonly used than in Classics or jazz².

So don’t be fooled by the term “authentic”! Just remember that genres have their own taste for specific progressions. And by understanding such preferences you can control or mix the “scent” of genres intentionally.

Summery

• Releasing musical “tension” is called resolution.
• A set of chords that acts as musical “punctuation” is called a cadence.
• In Classical music, III is largely used as a replacement for III_m.
• In rock music IV–I is as common as V–I while Classical music and Jazz prefer V–I a lot more.

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