Harmonic Cadences Cadence Worksheet Theory Things   William Wieland
As tonal goals, harmonic cadences resolve to stable chords, generally root position major or minor triads.

Authentic
V(7)
 
Right ArrowI
V(7)
 
Right Arrowi  (in minor)
vii°6
 
– I  (vii°6
 
– i)
This is the most important cadence.
Resolve 7 to 8 and 4 to 3.

If a musical phrase is a sentence,
an authentic cadence is a period.
 
Perfect Authentic (2 criteria)
  soprano ends on 1
  bass goes 5 to 1
 
Imperfect Authentic – all others
  vii° may substitute for V (above)
  the dominant chord may be inverted
  the soprano may end on 3 or 5
All cadences in functional tonality refer to V - I. (The plagal cadence is an elaboration of tonic.)

Half
Ends onV
I – V, ii – V, IV – V  (and more)

i – V, ii°6
 
– V, iv – V  (in minor)
Phrygian Half: iv6
 
– V  
A half cadence is a comma, (Bass goes down a half step.)

Deceptive
V(7)
 
Right Arrowvi
V(7)
 
Right ArrowVI  (in minor)
Rarely  V – IV6
 
A deceptive cadence may fool you. Like an authentic cadence, resolve 7 to 8.

Plagal IV – I
iv – i  (in minor)
Rarely  ii6
 
– I
a.k.a. Amen cadence Often heard after the final authentic cadence.

Authentic Cadence a.k.a. Full Close, Closed Cadence, Final Cadence and Full Cadence

Half Cadence a.k.a. Half Close, Open Cadence, Imperfect Cadence, Semicadence and Incomplete cadence

Deceptive Cadence a.k.a. Avoided Cadence, Broken Cadence, Interrupted Cadence and Irregular Cadence