{"id":557,"date":"2023-05-11T19:03:02","date_gmt":"2023-05-11T19:03:02","guid":{"rendered":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/chapter\/harmonic-function-cadences\/"},"modified":"2025-08-13T18:35:22","modified_gmt":"2025-08-13T18:35:22","slug":"harmonic-function-cadences","status":"publish","type":"chapter","link":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/chapter\/harmonic-function-cadences\/","title":{"raw":"Harmonic function and cadences","rendered":"Harmonic function and cadences"},"content":{"raw":"<div class=\"harmonic-function-&amp;-cadences\">\r\n<div class=\"textbox textbox--learning-objectives\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Learning goals for Chapter 16<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n<p class=\"import-Normal\">In this chapter, we will learn:<\/p>\r\n\r\n<ul>\r\n \t<li>The three types of basic tonal function (tonic, predominant, and dominant)<\/li>\r\n \t<li>Tonal cadence types<\/li>\r\n \t<li>How to aurally identify tonal function and cadences<\/li>\r\n \t<li>How to identify tonal function and cadences in scores<\/li>\r\n<\/ul>\r\n<\/div>\r\n<\/div>\r\n<h1><a id=\"Primary diatonic chords\"><\/a>Primary diatonic chords<\/h1>\r\n<p class=\"import-Normal\">There are three [pb_glossary id=\"1920\"]primary tonal functions[\/pb_glossary]: tonic (T), predominant (P), and dominant (D). The chords built on scale degrees [latex]\\hat{1}[\/latex], [latex]\\hat{4}[\/latex], and [latex]\\hat{5}[\/latex] are called the [pb_glossary id=\"1921\"]primary diatonic chords[\/pb_glossary], and they fill these three functions. In major keys, these chords are represented by Roman numerals I, IV, and V, or 1, 4, and 5 in the [pb_glossary id=\"1892\"]Nashville Number System[\/pb_glossary] (NNS). In minor keys, the primary diatonic chords are represented by Roman numerals i, iv, and V, or NNS 6-, 2-, and 3.<\/p>\r\n<p class=\"import-Normal\">The most basic functional progression uses only tonic and dominant functions: I \u2013 V<sup>(<\/sup><sup>7)<\/sup> \u2013 I (or in minor, i \u2013 V<sup>(<\/sup><sup>7)<\/sup> \u2013 i). Using all three primary diatonic functions, the most typical functional progression in tonal music is I \u2013 IV \u2013 V<sup>(<\/sup><sup>7)<\/sup> \u2013 I (or in minor, i \u2013 iv \u2013 V<sup>(<\/sup><sup>7)<\/sup> \u2013 i). Many variations on this progression are possible. A seventh may be added to any chord without changing its diatonic function. In fact, the seventh of a chord sometimes enhances the chord\u2019s function. Adding a seventh to the dominant triad, for example, strengthens its pull to tonic resolution since its third (the leading tone, \u201cti\u201d) and seventh (scale degree [latex]\\hat{4}[\/latex], \u201cfa\u201d) form a tritone that requires resolution to the root (tonic, \u201cdo\u201d) and third (scale degree [latex]\\hat{3}[\/latex], \u201cmi\u201d or \u201cme\u201d) of the tonic triad.<\/p>\r\n\r\n<h1><a id=\"EXERCISE 16-1 Harmonic function in context\"><\/a>EXERCISE 16-1 Harmonic function in context<\/h1>\r\n<div class=\"textbox textbox--exercises\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">EXERCISE 16-1 Harmonic function in context<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n<p class=\"import-Normal\"><span>Name the minor key given the key signature, and spell the tonic triad and dominant seventh chord on a separate sheet of staff paper or below. Select the right arrow over the image to view the answer. Then listen to the repeating basic functional progression in Worksheet example 16-1.<\/span><\/p>\r\n<p class=\"import-Normal\"><code>[h5p id=\"52\"]<\/code><\/p>\r\n\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Worksheet example 16\u20111. Marc Anthony, \u201cI Need to Know,\u201d 0:00\u20130:34<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\n[audio mp3=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-16.1-Marc-Anthony.mp3\"][\/audio]\r\n\r\nListen to the full track on <a href=\"https:\/\/open.spotify.com\/track\/7ffwRz8lZyDOE4Vj58Lo72?si=cf699269f9174a05\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.\r\n\r\nLearn about American Latino singer, songwriter, and actor <strong>Marc Anthony<\/strong> (b. 1968) by reading this <a class=\"rId202\" href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.A2103492\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Oxford Music Online article<\/span><\/a>, written by Frances R. Aparicio.\r\n\r\n<\/div>\r\n<\/div>\r\n<p class=\"import-Normal\">Name the major key given the key signature, and spell the primary diatonic triads (I, IV, and V) in that key on a separate sheet of staff paper or below. Select the right arrow over the image to view the answer. Then listen to these chords in Worksheet examples 16\u20112 and 16\u20113.<\/p>\r\n<p class=\"import-Normal\">[h5p id=\"53\"]<\/p>\r\n\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Worksheet example 16\u20112. R.E.M., \u201cStand,\u201d 0:09\u20130:27<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\n[audio mp3=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-16.2-REM.mp3\"][\/audio]\r\n\r\nListen to the full track on <a href=\"https:\/\/open.spotify.com\/track\/22UhQSbYimuCnvI0Y07gFX?si=4145a41e667740e5\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.\r\n\r\nLearn about American rock band <strong>R.E.M.<\/strong> by reading this <a class=\"rId203\" href=\"https:\/\/doi.org\/10.1093\/omo\/9781561592630.013.90000353463\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Oxford Music Online article<\/span><\/a>, written by Fred Everett Maus.\r\n\r\n<\/div>\r\n<\/div>\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Worksheet example 16\u20113. George Harrison, \u201cGot My Mind Set on You,\u201d 0:19\u20130:32<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\n[audio mp3=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-16.3-Harrison.mp3\"][\/audio]\r\n\r\nListen to the full track on <a href=\"https:\/\/open.spotify.com\/track\/1ukHtC2BBs51jmSGaxoEeL?si=80671b1cad49452f\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.\r\n\r\nLearn about English musician and former Beatle <strong>George Harrison<\/strong> (1943\u20132001) by reading this <a class=\"rId204\" href=\"https:\/\/www.britannica.com\/biography\/George-Harrison-British-musician\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Britannica<\/span><span class=\"import-Hyperlink\"> article<\/span><\/a>, revised and updated by Alicja Zelazko.\r\n\r\n<\/div>\r\n<\/div>\r\nName the major key given the key signature, and spell the primary diatonic triads (I, IV, and V) in that key, featured in Worksheet examples 16-4, 16-5, and 16-6. Select the right arrow over the image to view the answer. Worksheet examples 16-4 and 16-5 use I, IV, and V in succession, whereas Worksheet example 16-6 uses the chords in the following progression: I \u2013 IV \u2013 I \u2013 V.\r\n<p class=\"import-Normal\">[h5p id=\"54\"]<\/p>\r\n\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Worksheet example 16\u20114. The Cat Empire, \u201cOne Four Five,\u201d 0:45\u20131:01<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\n[audio mp3=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-16.4-Cat-Empire.mp3\"][\/audio]\r\n\r\nListen to the full track on <a href=\"https:\/\/open.spotify.com\/track\/2FDhEVWB2dJmfkKdnlgYfH?si=7fb8d9d75a30427c\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.\r\n\r\nLearn about Australian band <strong>T<\/strong><strong>he <\/strong><strong>Cat Empire<\/strong>\u00a0by visiting the band\u2019s official <a class=\"rId205\" href=\"https:\/\/thecatempire.com\/\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">website<\/span><\/a>.\r\n\r\n<\/div>\r\n<\/div>\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Worksheet example 16\u20115. Eric Clapton, \u201cLay Down Sally,\u201d 0:38\u20130:58<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\n[audio mp3=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-16.5-Eric-Clapton.mp3\"][\/audio]\r\n\r\nListen to the full track on <a href=\"https:\/\/open.spotify.com\/track\/6io0LJIP9ntX35hTfaxwQG?si=4d4cd3e4f3474ec8\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.\r\n\r\nLearn about English blues and rock guitarist <strong>Eric Clapton<\/strong> (b. 1945) by reading this <a class=\"rId206\" href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.46083\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Oxford Music Online article<\/span><\/a>, written by Susan Fast.\r\n\r\n<\/div>\r\n<\/div>\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Worksheet example 16\u20116. Hanson, \u201cMMMBop,\u201d 0:55\u20131:15<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\n[audio mp3=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-16.6-Hanson.mp3\"][\/audio]\r\n\r\nListen to the full track on <a href=\"https:\/\/open.spotify.com\/track\/1mX96thG2hGyuyAz94Q5tk?si=daf34dfb09e34041\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.\r\n\r\nLearn about American pop band <strong>Hanson<\/strong> by reading this <a class=\"rId207\" href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.A2249692\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Oxford Music Online article<\/span><\/a>, written by Jessica L. Brown.\r\n\r\n<\/div>\r\n<\/div>\r\nName the major key given the key signature, and spell the primary diatonic triads (I, IV, and V) in that key, featured in The Walkmen\u2019s \u201cHeartbreaker\u201d (Worksheet example 16-7). Select the right arrow over the image to view the answer.\r\n<p class=\"import-Normal\">[h5p id=\"55\"]<\/p>\r\n\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Worksheet example 16\u20117. The Walkmen, \u201cHeartbreaker,\u201d 0:00\u20130:16<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\n[audio mp3=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-16.7-Walkmen.mp3\"][\/audio]\r\n\r\nListen to the full track on <a href=\"https:\/\/open.spotify.com\/track\/6xyd8KWUlBxCE9hANhl71N?si=fb5699504eea4304\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.\r\n\r\nLearn about American indie rock band <strong>t<\/strong><strong>he <\/strong><strong>Walkmen<\/strong>\u00a0by reading <a class=\"rId208\" href=\"https:\/\/www.last.fm\/music\/The+Walkmen\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">their bio<\/span><\/a> on last.fm.\r\n\r\n<\/div>\r\n<\/div>\r\n<p class=\"import-Normal\">Name the major key given the key signature, and spell the primary diatonic triads (I, IV, and V) in that key, featured in Dolly Parton\u2019s \u201c9 to 5\u201d (Worksheet example 16\u20118).\u00a0<span style=\"font-size: 1rem\">Select the right arrow over the image to view the answer. <\/span><span style=\"font-size: 1rem\">This example uses the following progression with the primary diatonic chords: I \u2013 IV \u2013 I \u2013 V \u2013 I \u2013 IV \u2013 I \u2013 V \u2013 I.\u00a0<\/span><\/p>\r\n<p class=\"import-Normal\"><code>[h5p id=\"56\"]<\/code><\/p>\r\n\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Worksheet example 16\u20118. Dolly Parton, \u201c9 to 5,\u201d 0:00\u20130:29<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\n[audio mp3=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-16.8-Dolly-Parton.mp3\"][\/audio]\r\n\r\nListen to the full track on <a href=\"https:\/\/open.spotify.com\/track\/4w3tQBXhn5345eUXDGBWZG?si=8b687a6e96f24910\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.\r\n\r\nLearn about American country singer-songwriter and multi-instrumentalist <strong>Dolly Parton<\/strong> (b. 1946) by reading this <a class=\"rId209\" href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.A2225003\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Oxford Music Online article<\/span><\/a>, written by Jada Watson.\r\n\r\n<\/div>\r\n<\/div>\r\n<div class=\"textbox shaded\">Access a printer-friendly .pdf of the exercise here: <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex16.1-Harmonic-function-in-context.pdf\" target=\"_blank\" rel=\"noopener\">Ex16.1 Harmonic function in context<\/a><\/div>\r\n<div class=\"textbox shaded\">Listen to the audio examples featured in this exercise here: <a class=\"rId219\" href=\"https:\/\/open.spotify.com\/playlist\/55DSEkzobm1MXwtV4zKWvZ?si=0fdd3dc90e3d42bd\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Spotify playlist for harmonic function examples<\/span><\/a><\/div>\r\n<\/div>\r\n<\/div>\r\n<div class=\"textbox textbox--key-takeaways\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Video: T33 Harmonic function (8:56)<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\nhttps:\/\/youtu.be\/JXzkDV7rc0c?si=YLOyjYIfJdc1wa4v\r\n<p class=\"import-Normal\">This video explores the three primary diatonic functions in tonal music: [pb_glossary id=\"4975\"]tonic[\/pb_glossary], [pb_glossary id=\"4977\"]predominant[\/pb_glossary], and [pb_glossary id=\"4979\"]dominant[\/pb_glossary]. Musical examples include songs by Marc Anthony, R.E.M., George Harrison, and The Cat Empire.<\/p>\r\n\r\n<div class=\"textbox shaded\">Listen to the audio examples featured in this video here: <a class=\"rId219\" href=\"https:\/\/open.spotify.com\/playlist\/55DSEkzobm1MXwtV4zKWvZ?si=0fdd3dc90e3d42bd\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Spotify playlist for harmonic function examples<\/span><\/a><\/div>\r\n<\/div>\r\n<\/div>\r\n<h1><a id=\"Harmonic dictation\"><\/a>Harmonic dictation<\/h1>\r\nOne way to get better at identifying harmonic function by ear is to practice dictation short harmonic progressions that use only primary diatonic chords in root position. To this end,<span><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/back-matter\/appendix-e-harmonic-dictations\/\" target=\"_blank\" rel=\"noopener\"> Appendix E<\/a>, nos 1\u20136 and 8\u201310, <\/span>contains dictations with these chords. To practice this skill, listen to each short progression up to four times with the goals of notating the soprano and bass voices, providing Roman numerals beneath the staff, and identifying the cadence. Only notes belonging to the chords are used, so thinking about how to spell the I, IV, and V or V7 chords ahead of time may be useful to eliminate chord choices that do not feature the notes contained in a given soprano or bass voice.\r\n<div class=\"textbox textbox--key-takeaways\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Video: H01 How to do a harmonic dictation (6:31)<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\nhttps:\/\/youtu.be\/qZqyJ4v-fQI\r\n<p class=\"import-Normal\">This video introduces viewers how to dictate a short harmonic progression (notating soprano and bass voices, Roman numerals, and cadence) using just root position I, IV, and V or V7 chords, as a means of introducing the process for harmonic dictation.<\/p>\r\n\r\n<\/div>\r\n<\/div>\r\n<h1>Secondary diatonic chords<\/h1>\r\n<p class=\"import-Normal\">The remaining diatonic triads and seventh chords (built on scale degrees [latex]\\hat{2}[\/latex], [latex]\\hat{3}[\/latex], [latex]\\hat{6}[\/latex], and [latex]\\hat{7}[\/latex]) are called [pb_glossary id=\"1966\"]secondary diatonic chords[\/pb_glossary] and generally serve one of the three primary functions (tonic, predominant, or dominant).<\/p>\r\n<p class=\"import-Normal\">The [pb_glossary id=\"1926\"]supertonic[\/pb_glossary] chord assumes predominant function, and it may substitute for the subdominant chord. The [pb_glossary id=\"1967\"]submediant[\/pb_glossary] chord, having tonic function, usually substitutes for the tonic chord. One common use of the submediant triad occurs in the [pb_glossary id=\"1968\"]deceptive cadence[\/pb_glossary], where it surprises or \u201cdeceives\u201d the listener who expects to hear tonic, but instead hears submediant, after a V or V7 chord. The [pb_glossary id=\"677\"]leading tone[\/pb_glossary] chord functions dominantly and substitutes for the dominant chord. Figure 16\u20111 summarizes the function and quality for the most common primary and secondary diatonic chords.<\/p>\r\n\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Figure 16\u20111. Diatonic chord function chart<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image89.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image89.png\" width=\"1403\" height=\"994\" alt=\"image of chart\" class=\"alignnone\" \/><\/a><\/p>\r\n\r\n<div class=\"textbox shaded\">Access a screen-reader friendly .pdf of this figure here: <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Figure-16.1.pdf\" target=\"_blank\" rel=\"noopener\">Figure 16.1<\/a><\/div>\r\n<\/div>\r\n<\/div>\r\n<p class=\"import-Normal\">The [pb_glossary id=\"1028\"]mediant[\/pb_glossary] chord, used rarely, is the only chord that resists clear classification within the system of three diatonic functions addressed here. Sometimes it extends tonic function, and other times it functions dominantly. There are other times when it appears as part of a harmonic sequence, negating any immediate T, P, or D function. We will study the unique uses of the mediant chord in <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/chapter\/sequence-uses-of-the-mediant\/\" target=\"_blank\" rel=\"noopener\">Chapter 18<\/a>.<\/p>\r\n\r\n<h1><a id=\"Cadences\"><\/a>Cadences<\/h1>\r\n<p class=\"import-Normal\">William S. Rockstro and others define a [pb_glossary id=\"1970\"]cadence[\/pb_glossary] as<\/p>\r\n\r\n<blockquote>\r\n<p class=\"import-Quote\" style=\"margin-left: 43.2pt;margin-right: 43.2pt\">\u201cthe conclusion to a phrase, movement or piece based on a recognizable melodic formula, harmonic progression or dissonance resolution; [or] the formula on which such a conclusion is based.\u201d[footnote]William S. Rockstro, et al., \u201cCadence,\u201d in Grove Music Online, Oxford Music Online, http:\/\/www.oxfordmusiconline.com\/subscriber\/article\/grove\/music\/04523.[\/footnote]<\/p>\r\n<\/blockquote>\r\n<p class=\"import-Normal\">This chapter defines cadences by the type of chords that appear at the end of a phrase. Figure 16\u20112 summarizes the types of cadences used in European Baroque, Classical, and Romantic music. It is also possible to hear and identify these cadence types in other tonal genres.<\/p>\r\n\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Figure 16\u20112. Cadence types<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image90.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image90.png\" width=\"1363\" height=\"584\" alt=\"image of cadence types\" class=\"alignnone\" \/><\/a><\/p>\r\n\r\n<div class=\"textbox shaded\">Access a screen-reader friendly .pdf of this figure here: <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Figure-16.2.pdf\" target=\"_blank\" rel=\"noopener\">Figure 16.2<\/a><\/div>\r\n<\/div>\r\n<\/div>\r\n<p class=\"import-Normal\">There are four primary types of cadences: [pb_glossary id=\"1971\"]authentic[\/pb_glossary] (dominant function to tonic triad), [pb_glossary id=\"1977\"]plagal[\/pb_glossary] (subdominant chord to tonic chord), [pb_glossary id=\"1968\"]deceptive[\/pb_glossary] (dominant function to non-tonic triad with tonic function), and [pb_glossary id=\"1973\"]half[\/pb_glossary] (predominant or tonic function to dominant chord). Each has its own particular harmonic structure, as described in Figure 16\u20112 above.<\/p>\r\n<p class=\"import-Normal\">[pb_glossary id=\"1971\"]Authentic cadences[\/pb_glossary] are considered the most conclusive and stable of all cadences, signaling harmonic closure. They are often used to end large sections and entire pieces. There are two types of authentic cadences: the [pb_glossary id=\"1975\"]perfect authentic cadence[\/pb_glossary] and the [pb_glossary id=\"1976\"]imperfect authentic cadence[\/pb_glossary]. The [pb_glossary id=\"1975\"]perfect authentic cadence[\/pb_glossary] (or PAC) has two strict requirements: (1) it must use a dominant chord in root position followed by a tonic chord in root position, and (2) the tonic triad must be harmonized with scale degree [latex]\\hat{1}[\/latex] (\u201cdo\u201d) in the soprano melody or main melodic part. Any other cadence that moves from dominant function to the tonic triad is considered an [pb_glossary id=\"1976\"]imperfect authentic cadence[\/pb_glossary] (or IAC).<\/p>\r\n<p class=\"import-Normal\">The [pb_glossary id=\"1977\"]plagal cadence[\/pb_glossary] (or PC) also signals closure, but it is not considered quite as strong as an authentic cadence, since there is no dominant function to set up the resolution to tonic. Still, it is a conclusive cadence, and it is sometimes referred to as the \u201cAmen\u201d cadence because it is heard at the end of some Christian hymns.<\/p>\r\n<p class=\"import-Normal\">[pb_glossary id=\"1968\"]Deceptive cadences[\/pb_glossary] (or DC) surprise or \u201cdeceive\u201d the listener who expects to hear tonic, but instead hears a chord substituting for tonic, after the V or V7 chord. Usually, the tonic substitute is the submediant triad, but occasionally it may be a different chord altogether. Since they do not conclude with the tonic triad, deceptive cadences are more open and less conclusive than authentic and plagal cadences.<\/p>\r\n<p class=\"import-Normal\">[pb_glossary id=\"1973\"]Half cadences[\/pb_glossary] (or HC) are the most open type of cadence. Because they end with an unresolved dominant chord, they beg for resolution to come in the next phrase or section. There is a special type of half cadence that can occur in minor keys, when iv6 precedes the dominant chord, called the [pb_glossary id=\"1978\"]Phrygian half cadence[\/pb_glossary] (or Phrygian HC).<\/p>\r\n\r\n<div class=\"textbox textbox--key-takeaways\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Video: T34 Cadences in context (15:12)<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\nhttps:\/\/vimeo.com\/1008110636\r\n<p class=\"import-Normal\">This video introduces the different cadence types (PAC, IAC, PC, DC, and HC) and explores them in music by L. Viola Kinney, Florence Price, Paul Simon, Styx, Mozart, and the Beatles. T<span>he same music is presented in Examples 16-1 through 16-6.<\/span><\/p>\r\n\r\n<div class=\"textbox shaded\">Listen to the audio examples featured in this exercise here: <a class=\"rId220\" href=\"https:\/\/open.spotify.com\/playlist\/2pakk4ZNqvHL2r7xzpmhuh?si=1df1eb04edea42c8\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Spotify playlist for cadences in context<\/span><\/a><\/div>\r\n<\/div>\r\n<\/div>\r\n<h1><a id=\"Cadences in context\"><\/a>Cadences in context<\/h1>\r\n<p class=\"import-Normal\">Our first contextual example shows a [pb_glossary id=\"1975\"]perfect authentic cadence[\/pb_glossary] (PAC) in a piece by L. Viola Kinney. See the last two measures in Example 16\u20111. <span>We can tell that this example is a perfect authentic cadence because it involves dominant to tonic function, both the dominant seventh and the tonic chord are in root position, and the melody ends on tonic (G).<\/span><\/p>\r\n\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Example 16\u20111. L. Viola Kinney, \u201cMother\u2019s Sacrifice,\u201d mm. 50\u201357<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex-16.1-Kinney.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex-16.1-Kinney-1024x282.png\" alt=\"image of score\" width=\"1024\" height=\"282\" class=\"alignnone wp-image-1979 size-large\" \/><\/a><\/p>\r\n[audio mp3=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-16.1-Kinney.mp3\"][\/audio]\r\n\r\nListen to the full track, performed by pianist Maria Corley, on <a href=\"https:\/\/open.spotify.com\/track\/6qqDmGBs4q0UDIBLyCg73Z?si=18483295d4a145c2\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.\r\n\r\nLearn about the African American composer <strong>L. Viola Kinney<\/strong> (c. 1890\u20131945) by reading her <a href=\"https:\/\/aaregistry.org\/story\/l-viola-kinney-born\/\" target=\"_blank\" rel=\"noopener\">bio<\/a> on the African American Registry.\r\n\r\n<\/div>\r\n<\/div>\r\n<p class=\"import-Normal\">Example 16\u20112 shows an example of an [pb_glossary id=\"1976\"]imperfect authentic cadence[\/pb_glossary] (IAC) at the end of the excerpt. Like the PAC, it moves from dominant function to tonic. Both chords are in root position, but the melody ends on scale degree [latex]\\hat{3}[\/latex] (E), rather than tonic (C). The melody ending on a note other than tonic is what makes this cadence an IAC rather than a PAC.<\/p>\r\n\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Example 16\u20112. Florence Price, \u201cNight,\u201d mm. 20\u201327<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image92.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image92.png\" width=\"1432\" height=\"1032\" alt=\"image of score\" class=\"alignnone\" \/><\/a><\/p>\r\n[audio mp3=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex-16.2-Price.mp3\"][\/audio]\r\n\r\nListen to the full track, performed by soprano Icy Rene Simpson, on <a href=\"https:\/\/open.spotify.com\/track\/4vgd3uicHLZiDrQ0oDSAWt?si=3e13cc1a9dc04e19\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.\r\n\r\nLearn about African-American composer <strong>Florence Price<\/strong> (1887\u20131953) by reading this <a class=\"rId211\" href=\"https:\/\/doi.org\/10.1093\/omo\/9781561592630.013.90000367402\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Oxford Music Online article<\/span><\/a> written by Rae Linda Brown.\r\n\r\n<\/div>\r\n<\/div>\r\n<p class=\"import-Normal\">The excerpt in Example 16\u20113 presents a plagal cadence, moving from the predominant chord to tonic.<\/p>\r\n\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Example 16\u20113. Paul Simon, \u201cA Church Is Burning,\u201d 0:00\u20130:18<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\n[audio mp3=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex-16.3-Paul-Simon.mp3\"][\/audio]\r\n\r\nListen to the full track on <a href=\"https:\/\/open.spotify.com\/track\/0IJPCYZwk4HFWMkvvlHSxY?si=55bde96cd4f644f8\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.\r\n\r\nLearn about American singer-songwriter <strong>Paul Simon<\/strong> (b. 1941) by reading this <a class=\"rId212\" href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.46624\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Oxford Music Online article<\/span><\/a>, written by David Brackett\r\n\r\n<\/div>\r\n<\/div>\r\n<p class=\"import-Normal\">In Example 16\u20114, listen for the words \u201c<em>hands of time<\/em>.\u201d You will hear the VI chord substituting for tonic to create a deceptive cadence.<\/p>\r\n\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Example 16\u20114. Styx, \u201cThe Best of Times,\u201d 0:00\u20130:21<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\n[audio mp3=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-16.4-Styx.mp3\"][\/audio]\r\n\r\nListen to the full track on <a href=\"https:\/\/open.spotify.com\/track\/7GRUpcvSQM9HrnC2CjYPG4?si=e47c0d2b1b7d4f37\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.\r\n\r\nLearn about 20th-century American rock band <strong>Styx<\/strong> by reading this <a class=\"rId213\" href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.A2289495\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Oxford Music Online article<\/span><\/a>, written by Michael Ethen.\r\n\r\n<\/div>\r\n<\/div>\r\n<p class=\"import-Normal\"><span>Occasionally, chords other than the submediant are used to substitute for tonic in a deceptive cadence.<\/span> An exciting chromatic deceptive cadence occurs in the Kyrie movement of Mozart\u2019s <em>Requiem<\/em>, as shown in Example 16-5. Thinking in the key of D minor, m. 97 ends with a dominant seventh chord, leading many listeners to expect a tonic triad in the following measure. Instead, Mozart uses a G[latex]\\sharp[\/latex] fully diminished chord in m. 98, thus creating an unexpected deceptive cadence.<\/p>\r\n\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Example 16\u20115. W. A. Mozart, Kyrie from <em>Requiem<\/em>, K. 626, mm. 96\u2013100<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image93.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image93.png\" width=\"1428\" height=\"1026\" alt=\"image of score\" class=\"alignnone\" \/><\/a><\/p>\r\n[audio mp3=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-16.5-mozart.mp3\"][\/audio]\r\n\r\nListen to the full track, performed by the Dunedin Consort, on <a href=\"https:\/\/open.spotify.com\/track\/2N6FsYe0rej5ELqolmGHvs?si=392ae620e54f4669\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.\r\n\r\nLearn about Austrian composer <strong>Wolfgang Amadeus Mozart<\/strong> (1756\u20131791) by reading this <a class=\"rId214\" href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.6002278233\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Oxford Music Online article<\/span><\/a>, written by Cliff Eisen and Stanley Sadie.\r\n\r\n<\/div>\r\n<\/div>\r\n<p class=\"import-Normal\">Unlike authentic and plagal cadences, which end with tonic and thus sound more tonally conclusive, the most open and inconclusive cadence is the [pb_glossary id=\"1973\"]half cadence[\/pb_glossary], ending on the dominant chord, which we can hear in context at the end of the Beatles\u2019 \u201cFor No One\u201d in Example 16\u20116.<\/p>\r\n\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Example 16\u20116. The Beatles, \u201cFor No One,\u201d 1:28\u20131:56<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\n[audio mp3=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-16.6-Beatles.mp3\"][\/audio]\r\n\r\nListen to the full track on <a href=\"https:\/\/open.spotify.com\/track\/1kDkaFlmkdEZiVUogaP9OZ?si=37b040c9d0294f05\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.\r\n\r\nLearn about 20th-century English rock band <strong>the Beatles<\/strong> and their music by reading this <a class=\"rId215\" href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.A2223785\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Oxford Music Online article<\/span><\/a>, written by Walter Everett.\r\n\r\n<\/div>\r\n<\/div>\r\n<div class=\"textbox textbox--exercises\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Self-check quiz on cadences<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\n[h5p id=\"57\"]\r\n\r\n<\/div>\r\n<\/div>\r\n<h1><a id=\"EXERCISE 16-2 Analysis with I, IV, and V(7)\"><\/a>EXERCISE 16-2 Analysis with I, IV, and V(7)<\/h1>\r\n<div class=\"textbox textbox--exercises\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">EXERCISE 16-2 Analysis with I, IV, and V(7)<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n<p class=\"import-Normal\">Study and listen to the following excerpts. Then provide labels for the chords with the appropriate Roman numeral and figured bass symbols. In your analysis, disregard non-chord tones, which are placed in parentheses. Also identify the type of texture and cadences where indicated.<\/p>\r\n\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Worksheet example 16\u20119. J. S. Bach, \u201cLobt Gott, ihr Christen, allzugleich,\u201d mm. 1\u20132<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\n<a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-16.9-rev.png\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-16.9-rev-1024x537.png\" alt=\"image of score with blanks for Roman numerals, cadence and texture\" width=\"1024\" height=\"537\" class=\"alignnone size-large wp-image-5751\" \/><\/a>\r\n\r\n[audio mp3=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-16.9.mp3\"][\/audio]\r\n\r\nListen to the full track, performed by the King's College Choir, on <a href=\"https:\/\/open.spotify.com\/track\/3k5CKtX7tQ2DEqFJkoP1Pk?si=0269cd622b4241cf\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.\r\n\r\nLearn about German composer <strong>Johann Sebastian Bach<\/strong> (1685\u20131750) by reading this <a class=\"rId216\" href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.6002278195\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Oxford Music Online article<\/span><\/a>, written by Christoph Wolff and Walter Emery.\r\n\r\n<\/div>\r\n<\/div>\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Worksheet example 16\u201110. W. A. Mozart, Abendempfindung, K. 523, mm. 1\u20137<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\n<a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-16.10.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-16.10-1024x864.png\" alt=\"image of score with blanks for Roman numerals, cadence, and texture\" width=\"1024\" height=\"864\" class=\"alignnone wp-image-5755 size-large\" \/><\/a>\r\n\r\n[audio mp3=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-16.10.mp3\"][\/audio]\r\n\r\nListen to the full track, performed by Elly Ameling and Dalton Baldwin, on <a href=\"https:\/\/open.spotify.com\/track\/0EefwMqWZJ0OXGtpA0xYQH?si=97e95768cc4f4013\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.\r\n\r\nRead an\u00a0<a href=\"https:\/\/www.lieder.net\/lieder\/get_text.html?TextId=3537\" target=\"_blank\" rel=\"noopener\">English translation<\/a>\u00a0of the song text on <a href=\"https:\/\/www.lieder.net\" target=\"_blank\" rel=\"noopener\">lieder.net<\/a>.\r\n\r\nLearn about Austrian composer <strong>Wolfgang Amadeus Mozart<\/strong> (1756\u20131791) by reading this <a class=\"rId214\" href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.6002278233\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Oxford Music Online article<\/span><\/a>, written by Cliff Eisen and Stanley Sadie.\r\n\r\n<\/div>\r\n<\/div>\r\nNote: <span>In most of Worksheet example 16-11, the hands are crossed, so the right-hand part is lower than the left-hand part when this occurs. (Note the clefs used for each hand.)<\/span> This means that some of the bass notes will be found in the upper staff.\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Worksheet example 16\u201111. Ludwig van Beethoven, Piano Sonata no. 21, op. 53, \u201cWaldstein,\u201d mvt. 3, mm. 1\u201312<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\n<a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-16.11.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-16.11-1024x566.png\" alt=\"image of score\" width=\"1024\" height=\"566\" class=\"alignnone wp-image-5762 size-large\" \/><\/a>\r\n\r\n[audio mp3=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-16.11.mp3\"][\/audio]\r\n\r\nListen to the full track, performed by pianist Richard Goode, on <a href=\"https:\/\/open.spotify.com\/track\/2ytrZGSKmpYBRZQm3Vd74O?si=4a37455b9ed94181\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.\r\n\r\nLearn about German composer <strong>Ludwig van Beethoven<\/strong> (1770\u20131827) by reading this <a class=\"rId217\" href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.40026\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Oxford Music Online article<\/span><\/a>, written by Joseph Kerman and others.\r\n\r\n<\/div>\r\n<\/div>\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Worksheet example 16\u201112. Franz Schubert, \u201cGute Nacht,\u201d from <em>Winterreise, <\/em>mm. 99\u2013105<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\n<a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-16.12.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-16.12-1024x446.png\" alt=\"image of score with banks for Roman numerals, cadence, and texture\" width=\"1024\" height=\"446\" class=\"alignnone wp-image-5759 size-large\" \/><\/a>\r\n\r\n[audio mp3=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-16.12.mp3\"][\/audio]\r\n\r\nListen to the full track, performed by Dietrich Fischer-Dieskau, on <a href=\"https:\/\/open.spotify.com\/track\/6SF31K3xHuSYS2acTVRmUH?si=d0798e44d3964e32\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.\r\n\r\nLearn about Austrian composer <strong>Franz Schubert<\/strong> (1797\u20131828) by reading this <a class=\"rId218\" href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.25109\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Oxford Music Online article<\/span><\/a>, written by Maurice J. E. Brown and others.\r\n\r\n<\/div>\r\n<\/div>\r\n<div class=\"textbox shaded\">Access a printer-friendly .pdf of the exercise here: <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2024\/01\/Ex16.2-Analysis-with-I-IV-and-V7-rev.pdf\" target=\"_blank\" rel=\"noopener\">Ex16.2 Analysis with I, IV, and V(7)<\/a><\/div>\r\n<div class=\"textbox shaded\">Listen to the audio examples featured in this exercise here: <a href=\"https:\/\/open.spotify.com\/playlist\/7kRA41g4cSx6v6f1ZnJk9X?si=96a2dbff9c584fd0\" target=\"_blank\" rel=\"noopener\">Spotify playlist for Analysis with I, IV, and V(7)<\/a><\/div>\r\n<\/div>\r\n<\/div>\r\n<h1><a id=\"EXERCISE 16-3 Analysis of J. S. Bach\u2019s \u201cWachet Auf\u201d\"><\/a><a><\/a>EXERCISE 16-3 Analysis of J. S. Bach\u2019s \u201cWachet Auf\u201d<\/h1>\r\n<div class=\"textbox textbox--exercises\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">EXERCISE 16-3 Analysis of J. S. Bach\u2019s \u201cWachet Auf\u201d<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n<p class=\"import-Normal\">After listening to this piece and studying the score, identify the chords at each cadence with Roman numerals and figured bass symbols. Once you have determined those labels, identify the appropriate cadence types in the boxes above the staff. Most of this piece is in E[latex]\\flat[\/latex] major, but there is a section that modulates to the key of B[latex]\\flat[\/latex] major. Key changes are indicated when it is relevant to your analysis of the cadences.<\/p>\r\n\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Worksheet example 16\u201113. J. S. Bach, Chorale 329. \u201cWachet auf, ruft uns die Stimme\u201d<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\n<a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image98.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image98.png\" width=\"1427\" height=\"1345\" alt=\"image\" \/><\/a>\r\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image99.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image99.png\" width=\"1420\" height=\"1836\" alt=\"image of score, page 2\" class=\"alignnone\" \/><\/a><\/p>\r\nListen to this piece, performed by organist Claudio Colombo, on <a href=\"https:\/\/open.spotify.com\/track\/2amzGP5etFV7mRITJbDRFH?si=3273ee6470334404\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.\r\n\r\nLearn about German composer <strong>Johann Sebastian Bach<\/strong> (1685\u20131750) by reading this <a class=\"rId216\" href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.6002278195\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Oxford Music Online article<\/span><\/a>, written by Christoph Wolff and Walter Emery.\r\n\r\n<\/div>\r\n<\/div>\r\n<div class=\"textbox shaded\">Access a printer-friendly .pdf of the exercise here: <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex16.3-Analysis-of-J.-S.-Bachs-Wachet-Auf.pdf\" target=\"_blank\" rel=\"noopener\">Ex16.3 Analysis of J. S. Bach\u2019s \u201cWachet Auf\u201d<\/a><\/div>\r\n<\/div>\r\n<\/div>\r\n\r\n<h1><a id=\"Supplemental resources\"><\/a>Supplemental resources<\/h1>\r\n\r\n<div class=\"textbox textbox--learning-objectives\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Supplemental resources for Chapter 16<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n<p class=\"import-Normal\"><a class=\"rId221\" href=\"http:\/\/musictheory.pugetsound.edu\/mt21c\/cadences.html\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Robert Hutchinson's chapter on cadences<\/span><\/a><\/p>\r\n<p class=\"import-Normal\"><a class=\"rId222\" href=\"https:\/\/musictheorymaterials.utk.edu\/wp-content\/uploads\/2018\/09\/Cadences.pdf\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Barbara Murphy's primer on cadences<\/span><\/a><\/p>\r\n<p class=\"import-Normal\"><a class=\"rId223\" href=\"http:\/\/musictheory.pugetsound.edu\/mt21c\/HarmonicProgression.html\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Robert Hutchinson's chapter on harmonic progression<\/span><\/a><\/p>\r\n<p class=\"import-Normal\"><a class=\"rId224\" href=\"https:\/\/milnepublishing.geneseo.edu\/fundamentals-function-form\/chapter\/22-phrases-cadences-and-harmonic-function\/\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Andre Mount's chapter on cadences<\/span><\/a><\/p>\r\n<a href=\"https:\/\/viva.pressbooks.pub\/openmusictheory\/chapter\/intro-to-harmony\/\" target=\"_blank\" rel=\"noopener\">John Peterson's chapter on harmony, cadences, and phrase endings<\/a> (Open Music Theory)\r\n\r\n<\/div>\r\n<\/div>\r\n<\/div>","rendered":"<div class=\"harmonic-function-&amp;-cadences\">\n<div class=\"textbox textbox--learning-objectives\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Learning goals for Chapter 16<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p class=\"import-Normal\">In this chapter, we will learn:<\/p>\n<ul>\n<li>The three types of basic tonal function (tonic, predominant, and dominant)<\/li>\n<li>Tonal cadence types<\/li>\n<li>How to aurally identify tonal function and cadences<\/li>\n<li>How to identify tonal function and cadences in scores<\/li>\n<\/ul>\n<\/div>\n<\/div>\n<h1><a><\/a>Primary diatonic chords<\/h1>\n<p class=\"import-Normal\">There are three <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_557_1920\">primary tonal functions<\/a>: tonic (T), predominant (P), and dominant (D). The chords built on scale degrees <img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-a39bc1789eaec8fb0f064f247aee204c_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#104;&#97;&#116;&#123;&#49;&#125;\" title=\"Rendered by QuickLaTeX.com\" height=\"16\" width=\"7\" style=\"vertical-align: 0px;\" \/>, <img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-d72fa039966973c90fc7392dcaa589ca_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#104;&#97;&#116;&#123;&#52;&#125;\" title=\"Rendered by QuickLaTeX.com\" height=\"16\" width=\"9\" style=\"vertical-align: 0px;\" \/>, and <img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-007e62d9808d6b172da8b2875347ade1_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#104;&#97;&#116;&#123;&#53;&#125;\" title=\"Rendered by QuickLaTeX.com\" height=\"16\" width=\"8\" style=\"vertical-align: 0px;\" \/> are called the <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_557_1921\">primary diatonic chords<\/a>, and they fill these three functions. In major keys, these chords are represented by Roman numerals I, IV, and V, or 1, 4, and 5 in the <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_557_1892\">Nashville Number System<\/a> (NNS). In minor keys, the primary diatonic chords are represented by Roman numerals i, iv, and V, or NNS 6-, 2-, and 3.<\/p>\n<p class=\"import-Normal\">The most basic functional progression uses only tonic and dominant functions: I \u2013 V<sup>(<\/sup><sup>7)<\/sup> \u2013 I (or in minor, i \u2013 V<sup>(<\/sup><sup>7)<\/sup> \u2013 i). Using all three primary diatonic functions, the most typical functional progression in tonal music is I \u2013 IV \u2013 V<sup>(<\/sup><sup>7)<\/sup> \u2013 I (or in minor, i \u2013 iv \u2013 V<sup>(<\/sup><sup>7)<\/sup> \u2013 i). Many variations on this progression are possible. A seventh may be added to any chord without changing its diatonic function. In fact, the seventh of a chord sometimes enhances the chord\u2019s function. Adding a seventh to the dominant triad, for example, strengthens its pull to tonic resolution since its third (the leading tone, \u201cti\u201d) and seventh (scale degree <img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-d72fa039966973c90fc7392dcaa589ca_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#104;&#97;&#116;&#123;&#52;&#125;\" title=\"Rendered by QuickLaTeX.com\" height=\"16\" width=\"9\" style=\"vertical-align: 0px;\" \/>, \u201cfa\u201d) form a tritone that requires resolution to the root (tonic, \u201cdo\u201d) and third (scale degree <img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-e4613cf46b5ba5f7a0e3da296ab92a17_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#104;&#97;&#116;&#123;&#51;&#125;\" title=\"Rendered by QuickLaTeX.com\" height=\"16\" width=\"9\" style=\"vertical-align: 0px;\" \/>, \u201cmi\u201d or \u201cme\u201d) of the tonic triad.<\/p>\n<h1><a><\/a>EXERCISE 16-1 Harmonic function in context<\/h1>\n<div class=\"textbox textbox--exercises\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">EXERCISE 16-1 Harmonic function in context<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p class=\"import-Normal\"><span>Name the minor key given the key signature, and spell the tonic triad and dominant seventh chord on a separate sheet of staff paper or below. Select the right arrow over the image to view the answer. Then listen to the repeating basic functional progression in Worksheet example 16-1.<\/span><\/p>\n<p class=\"import-Normal\"><code><\/p>\n<div id=\"h5p-52\">\n<div class=\"h5p-iframe-wrapper\"><iframe id=\"h5p-iframe-52\" class=\"h5p-iframe\" data-content-id=\"52\" style=\"height:1px\" src=\"about:blank\" frameBorder=\"0\" scrolling=\"no\" title=\"WE 16.1\"><\/iframe><\/div>\n<\/div>\n<p><\/code><\/p>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Worksheet example 16\u20111. Marc Anthony, \u201cI Need to Know,\u201d 0:00\u20130:34<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p><audio class=\"wp-audio-shortcode\" id=\"audio-557-1\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-16.1-Marc-Anthony.mp3?_=1\" \/><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-16.1-Marc-Anthony.mp3\">https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-16.1-Marc-Anthony.mp3<\/a><\/audio><\/p>\n<p>Listen to the full track on <a href=\"https:\/\/open.spotify.com\/track\/7ffwRz8lZyDOE4Vj58Lo72?si=cf699269f9174a05\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.<\/p>\n<p>Learn about American Latino singer, songwriter, and actor <strong>Marc Anthony<\/strong> (b. 1968) by reading this <a class=\"rId202\" href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.A2103492\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Oxford Music Online article<\/span><\/a>, written by Frances R. Aparicio.<\/p>\n<\/div>\n<\/div>\n<p class=\"import-Normal\">Name the major key given the key signature, and spell the primary diatonic triads (I, IV, and V) in that key on a separate sheet of staff paper or below. Select the right arrow over the image to view the answer. Then listen to these chords in Worksheet examples 16\u20112 and 16\u20113.<\/p>\n<p class=\"import-Normal\">\n<div id=\"h5p-53\">\n<div class=\"h5p-iframe-wrapper\"><iframe id=\"h5p-iframe-53\" class=\"h5p-iframe\" data-content-id=\"53\" style=\"height:1px\" src=\"about:blank\" frameBorder=\"0\" scrolling=\"no\" title=\"WE 16.2\"><\/iframe><\/div>\n<\/div>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Worksheet example 16\u20112. R.E.M., \u201cStand,\u201d 0:09\u20130:27<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p><audio class=\"wp-audio-shortcode\" id=\"audio-557-2\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-16.2-REM.mp3?_=2\" \/><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-16.2-REM.mp3\">https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-16.2-REM.mp3<\/a><\/audio><\/p>\n<p>Listen to the full track on <a href=\"https:\/\/open.spotify.com\/track\/22UhQSbYimuCnvI0Y07gFX?si=4145a41e667740e5\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.<\/p>\n<p>Learn about American rock band <strong>R.E.M.<\/strong> by reading this <a class=\"rId203\" href=\"https:\/\/doi.org\/10.1093\/omo\/9781561592630.013.90000353463\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Oxford Music Online article<\/span><\/a>, written by Fred Everett Maus.<\/p>\n<\/div>\n<\/div>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Worksheet example 16\u20113. George Harrison, \u201cGot My Mind Set on You,\u201d 0:19\u20130:32<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p><audio class=\"wp-audio-shortcode\" id=\"audio-557-3\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-16.3-Harrison.mp3?_=3\" \/><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-16.3-Harrison.mp3\">https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-16.3-Harrison.mp3<\/a><\/audio><\/p>\n<p>Listen to the full track on <a href=\"https:\/\/open.spotify.com\/track\/1ukHtC2BBs51jmSGaxoEeL?si=80671b1cad49452f\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.<\/p>\n<p>Learn about English musician and former Beatle <strong>George Harrison<\/strong> (1943\u20132001) by reading this <a class=\"rId204\" href=\"https:\/\/www.britannica.com\/biography\/George-Harrison-British-musician\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Britannica<\/span><span class=\"import-Hyperlink\"> article<\/span><\/a>, revised and updated by Alicja Zelazko.<\/p>\n<\/div>\n<\/div>\n<p>Name the major key given the key signature, and spell the primary diatonic triads (I, IV, and V) in that key, featured in Worksheet examples 16-4, 16-5, and 16-6. Select the right arrow over the image to view the answer. Worksheet examples 16-4 and 16-5 use I, IV, and V in succession, whereas Worksheet example 16-6 uses the chords in the following progression: I \u2013 IV \u2013 I \u2013 V.<\/p>\n<p class=\"import-Normal\">\n<div id=\"h5p-54\">\n<div class=\"h5p-iframe-wrapper\"><iframe id=\"h5p-iframe-54\" class=\"h5p-iframe\" data-content-id=\"54\" style=\"height:1px\" src=\"about:blank\" frameBorder=\"0\" scrolling=\"no\" title=\"WE 16.4\"><\/iframe><\/div>\n<\/div>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Worksheet example 16\u20114. The Cat Empire, \u201cOne Four Five,\u201d 0:45\u20131:01<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p><audio class=\"wp-audio-shortcode\" id=\"audio-557-4\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-16.4-Cat-Empire.mp3?_=4\" \/><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-16.4-Cat-Empire.mp3\">https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-16.4-Cat-Empire.mp3<\/a><\/audio><\/p>\n<p>Listen to the full track on <a href=\"https:\/\/open.spotify.com\/track\/2FDhEVWB2dJmfkKdnlgYfH?si=7fb8d9d75a30427c\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.<\/p>\n<p>Learn about Australian band <strong>T<\/strong><strong>he <\/strong><strong>Cat Empire<\/strong>\u00a0by visiting the band\u2019s official <a class=\"rId205\" href=\"https:\/\/thecatempire.com\/\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">website<\/span><\/a>.<\/p>\n<\/div>\n<\/div>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Worksheet example 16\u20115. Eric Clapton, \u201cLay Down Sally,\u201d 0:38\u20130:58<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p><audio class=\"wp-audio-shortcode\" id=\"audio-557-5\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-16.5-Eric-Clapton.mp3?_=5\" \/><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-16.5-Eric-Clapton.mp3\">https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-16.5-Eric-Clapton.mp3<\/a><\/audio><\/p>\n<p>Listen to the full track on <a href=\"https:\/\/open.spotify.com\/track\/6io0LJIP9ntX35hTfaxwQG?si=4d4cd3e4f3474ec8\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.<\/p>\n<p>Learn about English blues and rock guitarist <strong>Eric Clapton<\/strong> (b. 1945) by reading this <a class=\"rId206\" href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.46083\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Oxford Music Online article<\/span><\/a>, written by Susan Fast.<\/p>\n<\/div>\n<\/div>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Worksheet example 16\u20116. Hanson, \u201cMMMBop,\u201d 0:55\u20131:15<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p><audio class=\"wp-audio-shortcode\" id=\"audio-557-6\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-16.6-Hanson.mp3?_=6\" \/><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-16.6-Hanson.mp3\">https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-16.6-Hanson.mp3<\/a><\/audio><\/p>\n<p>Listen to the full track on <a href=\"https:\/\/open.spotify.com\/track\/1mX96thG2hGyuyAz94Q5tk?si=daf34dfb09e34041\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.<\/p>\n<p>Learn about American pop band <strong>Hanson<\/strong> by reading this <a class=\"rId207\" href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.A2249692\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Oxford Music Online article<\/span><\/a>, written by Jessica L. Brown.<\/p>\n<\/div>\n<\/div>\n<p>Name the major key given the key signature, and spell the primary diatonic triads (I, IV, and V) in that key, featured in The Walkmen\u2019s \u201cHeartbreaker\u201d (Worksheet example 16-7). Select the right arrow over the image to view the answer.<\/p>\n<p class=\"import-Normal\">\n<div id=\"h5p-55\">\n<div class=\"h5p-iframe-wrapper\"><iframe id=\"h5p-iframe-55\" class=\"h5p-iframe\" data-content-id=\"55\" style=\"height:1px\" src=\"about:blank\" frameBorder=\"0\" scrolling=\"no\" title=\"WE 16.7\"><\/iframe><\/div>\n<\/div>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Worksheet example 16\u20117. The Walkmen, \u201cHeartbreaker,\u201d 0:00\u20130:16<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p><audio class=\"wp-audio-shortcode\" id=\"audio-557-7\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-16.7-Walkmen.mp3?_=7\" \/><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-16.7-Walkmen.mp3\">https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-16.7-Walkmen.mp3<\/a><\/audio><\/p>\n<p>Listen to the full track on <a href=\"https:\/\/open.spotify.com\/track\/6xyd8KWUlBxCE9hANhl71N?si=fb5699504eea4304\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.<\/p>\n<p>Learn about American indie rock band <strong>t<\/strong><strong>he <\/strong><strong>Walkmen<\/strong>\u00a0by reading <a class=\"rId208\" href=\"https:\/\/www.last.fm\/music\/The+Walkmen\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">their bio<\/span><\/a> on last.fm.<\/p>\n<\/div>\n<\/div>\n<p class=\"import-Normal\">Name the major key given the key signature, and spell the primary diatonic triads (I, IV, and V) in that key, featured in Dolly Parton\u2019s \u201c9 to 5\u201d (Worksheet example 16\u20118).\u00a0<span style=\"font-size: 1rem\">Select the right arrow over the image to view the answer. <\/span><span style=\"font-size: 1rem\">This example uses the following progression with the primary diatonic chords: I \u2013 IV \u2013 I \u2013 V \u2013 I \u2013 IV \u2013 I \u2013 V \u2013 I.\u00a0<\/span><\/p>\n<p class=\"import-Normal\"><code><\/p>\n<div id=\"h5p-56\">\n<div class=\"h5p-iframe-wrapper\"><iframe id=\"h5p-iframe-56\" class=\"h5p-iframe\" data-content-id=\"56\" style=\"height:1px\" src=\"about:blank\" frameBorder=\"0\" scrolling=\"no\" title=\"WE 16.8\"><\/iframe><\/div>\n<\/div>\n<p><\/code><\/p>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Worksheet example 16\u20118. Dolly Parton, \u201c9 to 5,\u201d 0:00\u20130:29<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p><audio class=\"wp-audio-shortcode\" id=\"audio-557-8\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-16.8-Dolly-Parton.mp3?_=8\" \/><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-16.8-Dolly-Parton.mp3\">https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-16.8-Dolly-Parton.mp3<\/a><\/audio><\/p>\n<p>Listen to the full track on <a href=\"https:\/\/open.spotify.com\/track\/4w3tQBXhn5345eUXDGBWZG?si=8b687a6e96f24910\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.<\/p>\n<p>Learn about American country singer-songwriter and multi-instrumentalist <strong>Dolly Parton<\/strong> (b. 1946) by reading this <a class=\"rId209\" href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.A2225003\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Oxford Music Online article<\/span><\/a>, written by Jada Watson.<\/p>\n<\/div>\n<\/div>\n<div class=\"textbox shaded\">Access a printer-friendly .pdf of the exercise here: <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex16.1-Harmonic-function-in-context.pdf\" target=\"_blank\" rel=\"noopener\">Ex16.1 Harmonic function in context<\/a><\/div>\n<div class=\"textbox shaded\">Listen to the audio examples featured in this exercise here: <a class=\"rId219\" href=\"https:\/\/open.spotify.com\/playlist\/55DSEkzobm1MXwtV4zKWvZ?si=0fdd3dc90e3d42bd\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Spotify playlist for harmonic function examples<\/span><\/a><\/div>\n<\/div>\n<\/div>\n<div class=\"textbox textbox--key-takeaways\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Video: T33 Harmonic function (8:56)<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p><iframe loading=\"lazy\" id=\"oembed-1\" title=\"T33 Harmonic Function\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/JXzkDV7rc0c?feature=oembed&#38;rel=0\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<p class=\"import-Normal\">This video explores the three primary diatonic functions in tonal music: <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_557_4975\">tonic<\/a>, <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_557_4977\">predominant<\/a>, and <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_557_4979\">dominant<\/a>. Musical examples include songs by Marc Anthony, R.E.M., George Harrison, and The Cat Empire.<\/p>\n<div class=\"textbox shaded\">Listen to the audio examples featured in this video here: <a class=\"rId219\" href=\"https:\/\/open.spotify.com\/playlist\/55DSEkzobm1MXwtV4zKWvZ?si=0fdd3dc90e3d42bd\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Spotify playlist for harmonic function examples<\/span><\/a><\/div>\n<\/div>\n<\/div>\n<h1><a><\/a>Harmonic dictation<\/h1>\n<p>One way to get better at identifying harmonic function by ear is to practice dictation short harmonic progressions that use only primary diatonic chords in root position. To this end,<span><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/back-matter\/appendix-e-harmonic-dictations\/\" target=\"_blank\" rel=\"noopener\"> Appendix E<\/a>, nos 1\u20136 and 8\u201310, <\/span>contains dictations with these chords. To practice this skill, listen to each short progression up to four times with the goals of notating the soprano and bass voices, providing Roman numerals beneath the staff, and identifying the cadence. Only notes belonging to the chords are used, so thinking about how to spell the I, IV, and V or V7 chords ahead of time may be useful to eliminate chord choices that do not feature the notes contained in a given soprano or bass voice.<\/p>\n<div class=\"textbox textbox--key-takeaways\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Video: H01 How to do a harmonic dictation (6:31)<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p><iframe loading=\"lazy\" id=\"oembed-2\" title=\"H01 How to do a harmonic dictation\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/qZqyJ4v-fQI?feature=oembed&#38;rel=0\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<p class=\"import-Normal\">This video introduces viewers how to dictate a short harmonic progression (notating soprano and bass voices, Roman numerals, and cadence) using just root position I, IV, and V or V7 chords, as a means of introducing the process for harmonic dictation.<\/p>\n<\/div>\n<\/div>\n<h1>Secondary diatonic chords<\/h1>\n<p class=\"import-Normal\">The remaining diatonic triads and seventh chords (built on scale degrees <img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-af5002d4be0497c609d44f228fde7f2a_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#104;&#97;&#116;&#123;&#50;&#125;\" title=\"Rendered by QuickLaTeX.com\" height=\"16\" width=\"8\" style=\"vertical-align: 0px;\" \/>, <img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-e4613cf46b5ba5f7a0e3da296ab92a17_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#104;&#97;&#116;&#123;&#51;&#125;\" title=\"Rendered by QuickLaTeX.com\" height=\"16\" width=\"9\" style=\"vertical-align: 0px;\" \/>, <img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-92d0faf37742011b58b4bf8ae77dec73_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#104;&#97;&#116;&#123;&#54;&#125;\" title=\"Rendered by QuickLaTeX.com\" height=\"16\" width=\"9\" style=\"vertical-align: 0px;\" \/>, and <img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-aabb030b8c1f8a0694fdf6f276fed432_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#104;&#97;&#116;&#123;&#55;&#125;\" title=\"Rendered by QuickLaTeX.com\" height=\"16\" width=\"9\" style=\"vertical-align: 0px;\" \/>) are called <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_557_1966\">secondary diatonic chords<\/a> and generally serve one of the three primary functions (tonic, predominant, or dominant).<\/p>\n<p class=\"import-Normal\">The <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_557_1926\">supertonic<\/a> chord assumes predominant function, and it may substitute for the subdominant chord. The <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_557_1967\">submediant<\/a> chord, having tonic function, usually substitutes for the tonic chord. One common use of the submediant triad occurs in the <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_557_1968\">deceptive cadence<\/a>, where it surprises or \u201cdeceives\u201d the listener who expects to hear tonic, but instead hears submediant, after a V or V7 chord. The <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_557_677\">leading tone<\/a> chord functions dominantly and substitutes for the dominant chord. Figure 16\u20111 summarizes the function and quality for the most common primary and secondary diatonic chords.<\/p>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Figure 16\u20111. Diatonic chord function chart<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image89.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image89.png\" width=\"1403\" height=\"994\" alt=\"image of chart\" class=\"alignnone\" \/><\/a><\/p>\n<div class=\"textbox shaded\">Access a screen-reader friendly .pdf of this figure here: <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Figure-16.1.pdf\" target=\"_blank\" rel=\"noopener\">Figure 16.1<\/a><\/div>\n<\/div>\n<\/div>\n<p class=\"import-Normal\">The <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_557_1028\">mediant<\/a> chord, used rarely, is the only chord that resists clear classification within the system of three diatonic functions addressed here. Sometimes it extends tonic function, and other times it functions dominantly. There are other times when it appears as part of a harmonic sequence, negating any immediate T, P, or D function. We will study the unique uses of the mediant chord in <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/chapter\/sequence-uses-of-the-mediant\/\" target=\"_blank\" rel=\"noopener\">Chapter 18<\/a>.<\/p>\n<h1><a id=\"Cadences\"><\/a>Cadences<\/h1>\n<p class=\"import-Normal\">William S. Rockstro and others define a <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_557_1970\">cadence<\/a> as<\/p>\n<blockquote>\n<p class=\"import-Quote\" style=\"margin-left: 43.2pt;margin-right: 43.2pt\">\u201cthe conclusion to a phrase, movement or piece based on a recognizable melodic formula, harmonic progression or dissonance resolution; [or] the formula on which such a conclusion is based.\u201d<a class=\"footnote\" title=\"William S. Rockstro, et al., \u201cCadence,\u201d in Grove Music Online, Oxford Music Online, http:\/\/www.oxfordmusiconline.com\/subscriber\/article\/grove\/music\/04523.\" id=\"return-footnote-557-1\" href=\"#footnote-557-1\" aria-label=\"Footnote 1\"><sup class=\"footnote\">[1]<\/sup><\/a><\/p>\n<\/blockquote>\n<p class=\"import-Normal\">This chapter defines cadences by the type of chords that appear at the end of a phrase. Figure 16\u20112 summarizes the types of cadences used in European Baroque, Classical, and Romantic music. It is also possible to hear and identify these cadence types in other tonal genres.<\/p>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Figure 16\u20112. Cadence types<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image90.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image90.png\" width=\"1363\" height=\"584\" alt=\"image of cadence types\" class=\"alignnone\" \/><\/a><\/p>\n<div class=\"textbox shaded\">Access a screen-reader friendly .pdf of this figure here: <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Figure-16.2.pdf\" target=\"_blank\" rel=\"noopener\">Figure 16.2<\/a><\/div>\n<\/div>\n<\/div>\n<p class=\"import-Normal\">There are four primary types of cadences: <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_557_1971\">authentic<\/a> (dominant function to tonic triad), <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_557_1977\">plagal<\/a> (subdominant chord to tonic chord), <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_557_1968\">deceptive<\/a> (dominant function to non-tonic triad with tonic function), and <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_557_1973\">half<\/a> (predominant or tonic function to dominant chord). Each has its own particular harmonic structure, as described in Figure 16\u20112 above.<\/p>\n<p class=\"import-Normal\"><a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_557_1971\">Authentic cadences<\/a> are considered the most conclusive and stable of all cadences, signaling harmonic closure. They are often used to end large sections and entire pieces. There are two types of authentic cadences: the <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_557_1975\">perfect authentic cadence<\/a> and the <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_557_1976\">imperfect authentic cadence<\/a>. The <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_557_1975\">perfect authentic cadence<\/a> (or PAC) has two strict requirements: (1) it must use a dominant chord in root position followed by a tonic chord in root position, and (2) the tonic triad must be harmonized with scale degree <img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-a39bc1789eaec8fb0f064f247aee204c_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#104;&#97;&#116;&#123;&#49;&#125;\" title=\"Rendered by QuickLaTeX.com\" height=\"16\" width=\"7\" style=\"vertical-align: 0px;\" \/> (\u201cdo\u201d) in the soprano melody or main melodic part. Any other cadence that moves from dominant function to the tonic triad is considered an <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_557_1976\">imperfect authentic cadence<\/a> (or IAC).<\/p>\n<p class=\"import-Normal\">The <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_557_1977\">plagal cadence<\/a> (or PC) also signals closure, but it is not considered quite as strong as an authentic cadence, since there is no dominant function to set up the resolution to tonic. Still, it is a conclusive cadence, and it is sometimes referred to as the \u201cAmen\u201d cadence because it is heard at the end of some Christian hymns.<\/p>\n<p class=\"import-Normal\"><a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_557_1968\">Deceptive cadences<\/a> (or DC) surprise or \u201cdeceive\u201d the listener who expects to hear tonic, but instead hears a chord substituting for tonic, after the V or V7 chord. Usually, the tonic substitute is the submediant triad, but occasionally it may be a different chord altogether. Since they do not conclude with the tonic triad, deceptive cadences are more open and less conclusive than authentic and plagal cadences.<\/p>\n<p class=\"import-Normal\"><a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_557_1973\">Half cadences<\/a> (or HC) are the most open type of cadence. Because they end with an unresolved dominant chord, they beg for resolution to come in the next phrase or section. There is a special type of half cadence that can occur in minor keys, when iv6 precedes the dominant chord, called the <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_557_1978\">Phrygian half cadence<\/a> (or Phrygian HC).<\/p>\n<div class=\"textbox textbox--key-takeaways\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Video: T34 Cadences in context (15:12)<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p><iframe loading=\"lazy\" id=\"oembed-3\" title=\"T34 Cadences in Context\" src=\"https:\/\/player.vimeo.com\/video\/1008110636?dnt=1&amp;app_id=122963\" width=\"500\" height=\"281\" frameborder=\"0\"><\/iframe><\/p>\n<p class=\"import-Normal\">This video introduces the different cadence types (PAC, IAC, PC, DC, and HC) and explores them in music by L. Viola Kinney, Florence Price, Paul Simon, Styx, Mozart, and the Beatles. T<span>he same music is presented in Examples 16-1 through 16-6.<\/span><\/p>\n<div class=\"textbox shaded\">Listen to the audio examples featured in this exercise here: <a class=\"rId220\" href=\"https:\/\/open.spotify.com\/playlist\/2pakk4ZNqvHL2r7xzpmhuh?si=1df1eb04edea42c8\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Spotify playlist for cadences in context<\/span><\/a><\/div>\n<\/div>\n<\/div>\n<h1><a><\/a>Cadences in context<\/h1>\n<p class=\"import-Normal\">Our first contextual example shows a <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_557_1975\">perfect authentic cadence<\/a> (PAC) in a piece by L. Viola Kinney. See the last two measures in Example 16\u20111. <span>We can tell that this example is a perfect authentic cadence because it involves dominant to tonic function, both the dominant seventh and the tonic chord are in root position, and the melody ends on tonic (G).<\/span><\/p>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Example 16\u20111. L. Viola Kinney, \u201cMother\u2019s Sacrifice,\u201d mm. 50\u201357<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex-16.1-Kinney.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex-16.1-Kinney-1024x282.png\" alt=\"image of score\" width=\"1024\" height=\"282\" class=\"alignnone wp-image-1979 size-large\" srcset=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex-16.1-Kinney-1024x282.png 1024w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex-16.1-Kinney-300x82.png 300w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex-16.1-Kinney-768x211.png 768w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex-16.1-Kinney-1536x422.png 1536w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex-16.1-Kinney-2048x563.png 2048w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex-16.1-Kinney-65x18.png 65w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex-16.1-Kinney-225x62.png 225w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex-16.1-Kinney-350x96.png 350w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><\/a><\/p>\n<p><audio class=\"wp-audio-shortcode\" id=\"audio-557-9\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-16.1-Kinney.mp3?_=9\" \/><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-16.1-Kinney.mp3\">https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-16.1-Kinney.mp3<\/a><\/audio><\/p>\n<p>Listen to the full track, performed by pianist Maria Corley, on <a href=\"https:\/\/open.spotify.com\/track\/6qqDmGBs4q0UDIBLyCg73Z?si=18483295d4a145c2\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.<\/p>\n<p>Learn about the African American composer <strong>L. Viola Kinney<\/strong> (c. 1890\u20131945) by reading her <a href=\"https:\/\/aaregistry.org\/story\/l-viola-kinney-born\/\" target=\"_blank\" rel=\"noopener\">bio<\/a> on the African American Registry.<\/p>\n<\/div>\n<\/div>\n<p class=\"import-Normal\">Example 16\u20112 shows an example of an <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_557_1976\">imperfect authentic cadence<\/a> (IAC) at the end of the excerpt. Like the PAC, it moves from dominant function to tonic. Both chords are in root position, but the melody ends on scale degree <img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-e4613cf46b5ba5f7a0e3da296ab92a17_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#104;&#97;&#116;&#123;&#51;&#125;\" title=\"Rendered by QuickLaTeX.com\" height=\"16\" width=\"9\" style=\"vertical-align: 0px;\" \/> (E), rather than tonic (C). The melody ending on a note other than tonic is what makes this cadence an IAC rather than a PAC.<\/p>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Example 16\u20112. Florence Price, \u201cNight,\u201d mm. 20\u201327<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image92.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image92.png\" width=\"1432\" height=\"1032\" alt=\"image of score\" class=\"alignnone\" \/><\/a><\/p>\n<p><audio class=\"wp-audio-shortcode\" id=\"audio-557-10\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex-16.2-Price.mp3?_=10\" \/><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex-16.2-Price.mp3\">https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex-16.2-Price.mp3<\/a><\/audio><\/p>\n<p>Listen to the full track, performed by soprano Icy Rene Simpson, on <a href=\"https:\/\/open.spotify.com\/track\/4vgd3uicHLZiDrQ0oDSAWt?si=3e13cc1a9dc04e19\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.<\/p>\n<p>Learn about African-American composer <strong>Florence Price<\/strong> (1887\u20131953) by reading this <a class=\"rId211\" href=\"https:\/\/doi.org\/10.1093\/omo\/9781561592630.013.90000367402\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Oxford Music Online article<\/span><\/a> written by Rae Linda Brown.<\/p>\n<\/div>\n<\/div>\n<p class=\"import-Normal\">The excerpt in Example 16\u20113 presents a plagal cadence, moving from the predominant chord to tonic.<\/p>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Example 16\u20113. Paul Simon, \u201cA Church Is Burning,\u201d 0:00\u20130:18<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p><audio class=\"wp-audio-shortcode\" id=\"audio-557-11\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex-16.3-Paul-Simon.mp3?_=11\" \/><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex-16.3-Paul-Simon.mp3\">https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex-16.3-Paul-Simon.mp3<\/a><\/audio><\/p>\n<p>Listen to the full track on <a href=\"https:\/\/open.spotify.com\/track\/0IJPCYZwk4HFWMkvvlHSxY?si=55bde96cd4f644f8\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.<\/p>\n<p>Learn about American singer-songwriter <strong>Paul Simon<\/strong> (b. 1941) by reading this <a class=\"rId212\" href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.46624\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Oxford Music Online article<\/span><\/a>, written by David Brackett<\/p>\n<\/div>\n<\/div>\n<p class=\"import-Normal\">In Example 16\u20114, listen for the words \u201c<em>hands of time<\/em>.\u201d You will hear the VI chord substituting for tonic to create a deceptive cadence.<\/p>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Example 16\u20114. Styx, \u201cThe Best of Times,\u201d 0:00\u20130:21<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p><audio class=\"wp-audio-shortcode\" id=\"audio-557-12\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-16.4-Styx.mp3?_=12\" \/><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-16.4-Styx.mp3\">https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-16.4-Styx.mp3<\/a><\/audio><\/p>\n<p>Listen to the full track on <a href=\"https:\/\/open.spotify.com\/track\/7GRUpcvSQM9HrnC2CjYPG4?si=e47c0d2b1b7d4f37\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.<\/p>\n<p>Learn about 20th-century American rock band <strong>Styx<\/strong> by reading this <a class=\"rId213\" href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.A2289495\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Oxford Music Online article<\/span><\/a>, written by Michael Ethen.<\/p>\n<\/div>\n<\/div>\n<p class=\"import-Normal\"><span>Occasionally, chords other than the submediant are used to substitute for tonic in a deceptive cadence.<\/span> An exciting chromatic deceptive cadence occurs in the Kyrie movement of Mozart\u2019s <em>Requiem<\/em>, as shown in Example 16-5. Thinking in the key of D minor, m. 97 ends with a dominant seventh chord, leading many listeners to expect a tonic triad in the following measure. Instead, Mozart uses a G<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-ff51ac680d6bea2ba79d15ba08ffcca2_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#115;&#104;&#97;&#114;&#112;\" title=\"Rendered by QuickLaTeX.com\" height=\"17\" width=\"6\" style=\"vertical-align: -4px;\" \/> fully diminished chord in m. 98, thus creating an unexpected deceptive cadence.<\/p>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Example 16\u20115. W. A. Mozart, Kyrie from <em>Requiem<\/em>, K. 626, mm. 96\u2013100<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image93.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image93.png\" width=\"1428\" height=\"1026\" alt=\"image of score\" class=\"alignnone\" \/><\/a><\/p>\n<p><audio class=\"wp-audio-shortcode\" id=\"audio-557-13\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-16.5-mozart.mp3?_=13\" \/><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-16.5-mozart.mp3\">https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-16.5-mozart.mp3<\/a><\/audio><\/p>\n<p>Listen to the full track, performed by the Dunedin Consort, on <a href=\"https:\/\/open.spotify.com\/track\/2N6FsYe0rej5ELqolmGHvs?si=392ae620e54f4669\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.<\/p>\n<p>Learn about Austrian composer <strong>Wolfgang Amadeus Mozart<\/strong> (1756\u20131791) by reading this <a class=\"rId214\" href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.6002278233\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Oxford Music Online article<\/span><\/a>, written by Cliff Eisen and Stanley Sadie.<\/p>\n<\/div>\n<\/div>\n<p class=\"import-Normal\">Unlike authentic and plagal cadences, which end with tonic and thus sound more tonally conclusive, the most open and inconclusive cadence is the <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_557_1973\">half cadence<\/a>, ending on the dominant chord, which we can hear in context at the end of the Beatles\u2019 \u201cFor No One\u201d in Example 16\u20116.<\/p>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Example 16\u20116. The Beatles, \u201cFor No One,\u201d 1:28\u20131:56<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p><audio class=\"wp-audio-shortcode\" id=\"audio-557-14\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-16.6-Beatles.mp3?_=14\" \/><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-16.6-Beatles.mp3\">https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-16.6-Beatles.mp3<\/a><\/audio><\/p>\n<p>Listen to the full track on <a href=\"https:\/\/open.spotify.com\/track\/1kDkaFlmkdEZiVUogaP9OZ?si=37b040c9d0294f05\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.<\/p>\n<p>Learn about 20th-century English rock band <strong>the Beatles<\/strong> and their music by reading this <a class=\"rId215\" href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.A2223785\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Oxford Music Online article<\/span><\/a>, written by Walter Everett.<\/p>\n<\/div>\n<\/div>\n<div class=\"textbox textbox--exercises\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Self-check quiz on cadences<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<div id=\"h5p-57\">\n<div class=\"h5p-iframe-wrapper\"><iframe id=\"h5p-iframe-57\" class=\"h5p-iframe\" data-content-id=\"57\" style=\"height:1px\" src=\"about:blank\" frameBorder=\"0\" scrolling=\"no\" title=\"Cadences\"><\/iframe><\/div>\n<\/div>\n<\/div>\n<\/div>\n<h1><a><\/a>EXERCISE 16-2 Analysis with I, IV, and V(7)<\/h1>\n<div class=\"textbox textbox--exercises\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">EXERCISE 16-2 Analysis with I, IV, and V(7)<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p class=\"import-Normal\">Study and listen to the following excerpts. Then provide labels for the chords with the appropriate Roman numeral and figured bass symbols. In your analysis, disregard non-chord tones, which are placed in parentheses. Also identify the type of texture and cadences where indicated.<\/p>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Worksheet example 16\u20119. J. S. Bach, \u201cLobt Gott, ihr Christen, allzugleich,\u201d mm. 1\u20132<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-16.9-rev.png\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-16.9-rev-1024x537.png\" alt=\"image of score with blanks for Roman numerals, cadence and texture\" width=\"1024\" height=\"537\" class=\"alignnone size-large wp-image-5751\" srcset=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-16.9-rev-1024x537.png 1024w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-16.9-rev-300x157.png 300w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-16.9-rev-768x403.png 768w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-16.9-rev-1536x806.png 1536w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-16.9-rev-2048x1074.png 2048w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-16.9-rev-65x34.png 65w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-16.9-rev-225x118.png 225w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-16.9-rev-350x184.png 350w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><\/a><\/p>\n<p><audio class=\"wp-audio-shortcode\" id=\"audio-557-15\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-16.9.mp3?_=15\" \/><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-16.9.mp3\">https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-16.9.mp3<\/a><\/audio><\/p>\n<p>Listen to the full track, performed by the King&#8217;s College Choir, on <a href=\"https:\/\/open.spotify.com\/track\/3k5CKtX7tQ2DEqFJkoP1Pk?si=0269cd622b4241cf\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.<\/p>\n<p>Learn about German composer <strong>Johann Sebastian Bach<\/strong> (1685\u20131750) by reading this <a class=\"rId216\" href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.6002278195\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Oxford Music Online article<\/span><\/a>, written by Christoph Wolff and Walter Emery.<\/p>\n<\/div>\n<\/div>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Worksheet example 16\u201110. W. A. Mozart, Abendempfindung, K. 523, mm. 1\u20137<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-16.10.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-16.10-1024x864.png\" alt=\"image of score with blanks for Roman numerals, cadence, and texture\" width=\"1024\" height=\"864\" class=\"alignnone wp-image-5755 size-large\" srcset=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-16.10-1024x864.png 1024w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-16.10-300x253.png 300w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-16.10-768x648.png 768w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-16.10-1536x1296.png 1536w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-16.10-2048x1728.png 2048w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-16.10-65x55.png 65w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-16.10-225x190.png 225w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-16.10-350x295.png 350w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><\/a><\/p>\n<p><audio class=\"wp-audio-shortcode\" id=\"audio-557-16\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-16.10.mp3?_=16\" \/><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-16.10.mp3\">https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-16.10.mp3<\/a><\/audio><\/p>\n<p>Listen to the full track, performed by Elly Ameling and Dalton Baldwin, on <a href=\"https:\/\/open.spotify.com\/track\/0EefwMqWZJ0OXGtpA0xYQH?si=97e95768cc4f4013\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.<\/p>\n<p>Read an\u00a0<a href=\"https:\/\/www.lieder.net\/lieder\/get_text.html?TextId=3537\" target=\"_blank\" rel=\"noopener\">English translation<\/a>\u00a0of the song text on <a href=\"https:\/\/www.lieder.net\" target=\"_blank\" rel=\"noopener\">lieder.net<\/a>.<\/p>\n<p>Learn about Austrian composer <strong>Wolfgang Amadeus Mozart<\/strong> (1756\u20131791) by reading this <a class=\"rId214\" href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.6002278233\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Oxford Music Online article<\/span><\/a>, written by Cliff Eisen and Stanley Sadie.<\/p>\n<\/div>\n<\/div>\n<p>Note: <span>In most of Worksheet example 16-11, the hands are crossed, so the right-hand part is lower than the left-hand part when this occurs. (Note the clefs used for each hand.)<\/span> This means that some of the bass notes will be found in the upper staff.<\/p>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Worksheet example 16\u201111. Ludwig van Beethoven, Piano Sonata no. 21, op. 53, \u201cWaldstein,\u201d mvt. 3, mm. 1\u201312<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-16.11.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-16.11-1024x566.png\" alt=\"image of score\" width=\"1024\" height=\"566\" class=\"alignnone wp-image-5762 size-large\" srcset=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-16.11-1024x566.png 1024w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-16.11-300x166.png 300w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-16.11-768x424.png 768w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-16.11-1536x849.png 1536w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-16.11-65x36.png 65w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-16.11-225x124.png 225w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-16.11-350x193.png 350w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-16.11.png 1853w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><\/a><\/p>\n<p><audio class=\"wp-audio-shortcode\" id=\"audio-557-17\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-16.11.mp3?_=17\" \/><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-16.11.mp3\">https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-16.11.mp3<\/a><\/audio><\/p>\n<p>Listen to the full track, performed by pianist Richard Goode, on <a href=\"https:\/\/open.spotify.com\/track\/2ytrZGSKmpYBRZQm3Vd74O?si=4a37455b9ed94181\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.<\/p>\n<p>Learn about German composer <strong>Ludwig van Beethoven<\/strong> (1770\u20131827) by reading this <a class=\"rId217\" href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.40026\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Oxford Music Online article<\/span><\/a>, written by Joseph Kerman and others.<\/p>\n<\/div>\n<\/div>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Worksheet example 16\u201112. Franz Schubert, \u201cGute Nacht,\u201d from <em>Winterreise, <\/em>mm. 99\u2013105<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-16.12.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-16.12-1024x446.png\" alt=\"image of score with banks for Roman numerals, cadence, and texture\" width=\"1024\" height=\"446\" class=\"alignnone wp-image-5759 size-large\" srcset=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-16.12-1024x446.png 1024w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-16.12-300x131.png 300w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-16.12-768x335.png 768w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-16.12-1536x669.png 1536w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-16.12-2048x893.png 2048w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-16.12-65x28.png 65w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-16.12-225x98.png 225w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-16.12-350x153.png 350w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><\/a><\/p>\n<p><audio class=\"wp-audio-shortcode\" id=\"audio-557-18\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-16.12.mp3?_=18\" \/><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-16.12.mp3\">https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-16.12.mp3<\/a><\/audio><\/p>\n<p>Listen to the full track, performed by Dietrich Fischer-Dieskau, on <a href=\"https:\/\/open.spotify.com\/track\/6SF31K3xHuSYS2acTVRmUH?si=d0798e44d3964e32\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.<\/p>\n<p>Learn about Austrian composer <strong>Franz Schubert<\/strong> (1797\u20131828) by reading this <a class=\"rId218\" href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.25109\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Oxford Music Online article<\/span><\/a>, written by Maurice J. E. Brown and others.<\/p>\n<\/div>\n<\/div>\n<div class=\"textbox shaded\">Access a printer-friendly .pdf of the exercise here: <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2024\/01\/Ex16.2-Analysis-with-I-IV-and-V7-rev.pdf\" target=\"_blank\" rel=\"noopener\">Ex16.2 Analysis with I, IV, and V(7)<\/a><\/div>\n<div class=\"textbox shaded\">Listen to the audio examples featured in this exercise here: <a href=\"https:\/\/open.spotify.com\/playlist\/7kRA41g4cSx6v6f1ZnJk9X?si=96a2dbff9c584fd0\" target=\"_blank\" rel=\"noopener\">Spotify playlist for Analysis with I, IV, and V(7)<\/a><\/div>\n<\/div>\n<\/div>\n<h1><a><\/a><a><\/a>EXERCISE 16-3 Analysis of J. S. Bach\u2019s \u201cWachet Auf\u201d<\/h1>\n<div class=\"textbox textbox--exercises\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">EXERCISE 16-3 Analysis of J. S. Bach\u2019s \u201cWachet Auf\u201d<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p class=\"import-Normal\">After listening to this piece and studying the score, identify the chords at each cadence with Roman numerals and figured bass symbols. Once you have determined those labels, identify the appropriate cadence types in the boxes above the staff. Most of this piece is in E<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-0e4fd1b228a913e7ed236ea1697df45c_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#102;&#108;&#97;&#116;\" title=\"Rendered by QuickLaTeX.com\" height=\"13\" width=\"6\" style=\"vertical-align: 0px;\" \/> major, but there is a section that modulates to the key of B<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-0e4fd1b228a913e7ed236ea1697df45c_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#102;&#108;&#97;&#116;\" title=\"Rendered by QuickLaTeX.com\" height=\"13\" width=\"6\" style=\"vertical-align: 0px;\" \/> major. Key changes are indicated when it is relevant to your analysis of the cadences.<\/p>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Worksheet example 16\u201113. J. S. Bach, Chorale 329. \u201cWachet auf, ruft uns die Stimme\u201d<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image98.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image98.png\" width=\"1427\" height=\"1345\" alt=\"image\" \/><\/a><\/p>\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image99.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image99.png\" width=\"1420\" height=\"1836\" alt=\"image of score, page 2\" class=\"alignnone\" \/><\/a><\/p>\n<p>Listen to this piece, performed by organist Claudio Colombo, on <a href=\"https:\/\/open.spotify.com\/track\/2amzGP5etFV7mRITJbDRFH?si=3273ee6470334404\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.<\/p>\n<p>Learn about German composer <strong>Johann Sebastian Bach<\/strong> (1685\u20131750) by reading this <a class=\"rId216\" href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.6002278195\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Oxford Music Online article<\/span><\/a>, written by Christoph Wolff and Walter Emery.<\/p>\n<\/div>\n<\/div>\n<div class=\"textbox shaded\">Access a printer-friendly .pdf of the exercise here: <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex16.3-Analysis-of-J.-S.-Bachs-Wachet-Auf.pdf\" target=\"_blank\" rel=\"noopener\">Ex16.3 Analysis of J. S. Bach\u2019s \u201cWachet Auf\u201d<\/a><\/div>\n<\/div>\n<\/div>\n<h1><a><\/a>Supplemental resources<\/h1>\n<div class=\"textbox textbox--learning-objectives\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Supplemental resources for Chapter 16<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p class=\"import-Normal\"><a class=\"rId221\" href=\"http:\/\/musictheory.pugetsound.edu\/mt21c\/cadences.html\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Robert Hutchinson&#8217;s chapter on cadences<\/span><\/a><\/p>\n<p class=\"import-Normal\"><a class=\"rId222\" href=\"https:\/\/musictheorymaterials.utk.edu\/wp-content\/uploads\/2018\/09\/Cadences.pdf\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Barbara Murphy&#8217;s primer on cadences<\/span><\/a><\/p>\n<p class=\"import-Normal\"><a class=\"rId223\" href=\"http:\/\/musictheory.pugetsound.edu\/mt21c\/HarmonicProgression.html\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Robert Hutchinson&#8217;s chapter on harmonic progression<\/span><\/a><\/p>\n<p class=\"import-Normal\"><a class=\"rId224\" href=\"https:\/\/milnepublishing.geneseo.edu\/fundamentals-function-form\/chapter\/22-phrases-cadences-and-harmonic-function\/\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Andre Mount&#8217;s chapter on cadences<\/span><\/a><\/p>\n<p><a href=\"https:\/\/viva.pressbooks.pub\/openmusictheory\/chapter\/intro-to-harmony\/\" target=\"_blank\" rel=\"noopener\">John Peterson&#8217;s chapter on harmony, cadences, and phrase endings<\/a> (Open Music Theory)<\/p>\n<\/div>\n<\/div>\n<\/div>\n<hr class=\"before-footnotes clear\" \/><div class=\"footnotes\"><ol><li id=\"footnote-557-1\">William S. Rockstro, et al., \u201cCadence,\u201d in Grove Music Online, Oxford Music Online, http:\/\/www.oxfordmusiconline.com\/subscriber\/article\/grove\/music\/04523. <a href=\"#return-footnote-557-1\" class=\"return-footnote\" aria-label=\"Return to footnote 1\">&crarr;<\/a><\/li><\/ol><\/div><div class=\"glossary\"><span class=\"screen-reader-text\" id=\"definition\">definition<\/span><template id=\"term_557_1920\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_557_1920\"><div tabindex=\"-1\"><p>the three typical chord functions in tonal music, which are tonic (T), representing closure and stability; predominant (P), signaling a shift prior to dominant function; and dominant (D), representing tension and instability<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_557_1921\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_557_1921\"><div tabindex=\"-1\"><p>the chords built on scale degrees 1, 4, and 5<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_557_1892\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_557_1892\"><div tabindex=\"-1\"><p>system for labeling chord progressions, using Arabic numbers and symbols to show chord function and alterations<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_557_4975\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_557_4975\"><div tabindex=\"-1\"><p>the most stable tonal function of repose, resolution, or conclusion, exemplified by the triad built on scale degree 1<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_557_4977\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_557_4977\"><div tabindex=\"-1\"><p>a tonal function that typically precedes dominant function; chords with predominant function include the subdominant triad and chords built on scale degree 2<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_557_4979\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_557_4979\"><div tabindex=\"-1\"><p>the most unstable tonal function characterized by tension, setting up a listener\u2019s expectation to hear tonic as a resolution; chords with dominant function include the dominant triad, dominant seventh, and chords built on the leading tone<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_557_1966\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_557_1966\"><div tabindex=\"-1\"><p>chords built on scale degrees 2, 3, 6, and 7<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_557_1926\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_557_1926\"><div tabindex=\"-1\"><p>scale degree 2, or the chord built on scale degree 2<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_557_1967\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_557_1967\"><div tabindex=\"-1\"><p>scale degree 6, or the chord built on scale degree 6<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_557_1968\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_557_1968\"><div tabindex=\"-1\"><p>cadence which consists of two chords: dominant (V or V7) to a chord other than tonic, usually the submediant triad; abbreviated as \"DC\"<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_557_677\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_557_677\"><div tabindex=\"-1\"><p>scale degree 7 in any major, harmonic minor, or ascending melodic minor scale; this scale degree is always a half step below tonic<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_557_1028\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_557_1028\"><div tabindex=\"-1\"><p>scale degree 3<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_557_1970\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_557_1970\"><div tabindex=\"-1\"><p>the end of a phrase, defined by its harmonic motion into one of the following categories: authentic cadence (V - I), plagal cadence (IV - I), half cadence (end on V), or deceptive cadence (V - vi)<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_557_1971\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_557_1971\"><div tabindex=\"-1\"><p>cadence type that features dominant to tonic<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_557_1977\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_557_1977\"><div tabindex=\"-1\"><p>cadence type that features subdominant to tonic; abbreviated as \"PC\"<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_557_1973\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_557_1973\"><div tabindex=\"-1\"><p>cadence type that ends with a dominant chord; abbreviated as \"HC\"<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_557_1975\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_557_1975\"><div tabindex=\"-1\"><p>the most conclusive cadence type, having both of the following features: (1) the cadence uses a dominant chord in root position followed by a tonic chord in root position, and (2) the tonic triad uses scale degree 1 (\u201cdo\u201d) in the soprano melody or main melodic part; abbreviated as \"PAC\"<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_557_1976\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_557_1976\"><div tabindex=\"-1\"><p>any cadence that moves from dominant function to the tonic triad in which any of the chords is inverted or uses the leading tone chord instead of V, or in which a scale degree other than 1 (\"do\") is in the highest part or melody with the tonic chord; abbreviated as \"IAC\"<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_557_1978\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_557_1978\"><div tabindex=\"-1\"><p>special type of half cadence that can occur in minor keys, which features iv6 - V<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><\/div>","protected":false},"author":3,"menu_order":16,"template":"","meta":{"pb_show_title":"on","pb_short_title":"","pb_subtitle":"","pb_authors":[],"pb_section_license":""},"chapter-type":[],"contributor":[],"license":[],"class_list":["post-557","chapter","type-chapter","status-publish","hentry"],"part":3,"_links":{"self":[{"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/pressbooks\/v2\/chapters\/557","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/pressbooks\/v2\/chapters"}],"about":[{"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/wp\/v2\/types\/chapter"}],"author":[{"embeddable":true,"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/wp\/v2\/users\/3"}],"version-history":[{"count":103,"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/pressbooks\/v2\/chapters\/557\/revisions"}],"predecessor-version":[{"id":7037,"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/pressbooks\/v2\/chapters\/557\/revisions\/7037"}],"part":[{"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/pressbooks\/v2\/parts\/3"}],"metadata":[{"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/pressbooks\/v2\/chapters\/557\/metadata\/"}],"wp:attachment":[{"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/wp\/v2\/media?parent=557"}],"wp:term":[{"taxonomy":"chapter-type","embeddable":true,"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/pressbooks\/v2\/chapter-type?post=557"},{"taxonomy":"contributor","embeddable":true,"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/wp\/v2\/contributor?post=557"},{"taxonomy":"license","embeddable":true,"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/wp\/v2\/license?post=557"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}