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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.
More recent definitions, especially by American theorists, have tightened the use of the term to restrict the contrast so that the first phrase must end in a half cadence or imperfect authentic cadence and the second a perfect authentic cadence. [10] [11]
Bar-line shift's effect on metric accent: first two lines vs. second two lines [1] Play ⓘ or play with percussion marking the measures ⓘ. Period (two five-bar phrases) in Haydn's Feldpartita. Play ⓘ The second phrase is distinguished by an authentic cadence answering the half cadence at the end of the first phrase. [2]
Otherwise explained: if the melody moves mostly above the final, with an occasional cadence to the sub-final, the mode is authentic. Plagal modes shift range and also explore the fourth below the final as well as the fifth above. In both cases, the strict ambitus of the mode is one octave. A melody that remains confined to the mode's ambitus is ...
A V-I cadence is authentic; whether it's perfect depends on the voicing of bass and soprano. Whether there is a seventh in the V chord is not relevant. —Wahoofive 16:59, 27 March 2007 (UTC) A V 7-I is considered a Perfect Cadence. —Preceding unsigned comment added by 218.186.14.42 02:31, 30 September 2007 (UTC)
The main objective of the S action space, however, is to confirm the new key with a perfect authentic cadence. This cadence is the overarching goal of a sonata exposition, and its equivalent moment in the recapitulation is the chief goal of the sonata form as a whole.
The opposition between consonance and dissonance can be made in different contexts: In acoustics or psychophysiology, the distinction may be objective.In modern times, it usually is based on the perception of harmonic partials of the sounds considered, to such an extent that the distinction really holds only in the case of harmonic sounds (i.e. sounds with harmonic partials).
In the strongest cadence, the authentic cadence (example shown below), the dominant chord is followed by the tonic chord. A cadence that ends with a dominant chord is called a half cadence or an "imperfect cadence".