Phrases and Cadences

A phrase is a series of notes that sound complete even when played apart from the main song. We will use the above musical example to demonstrate phrases. Listen to the first two measures, notice how they sound incomplete. Now listen to the first four measures, it now sounds more complete. These measures could be considered a phrase.

Listen to the fifth through eighth measures. Due to their completeness, they also form a phrase.

A cadence is a two-chord progression that occurs at the end of a phrase. If a phrase ends with any chord going to V, a half cadence (HC) occurs. Listen again to the first four measures and notice the sound of the half cadence.

Most people will hear a half cadence as sounding incomplete. Because of this, composers usually will follow half cadences with a phrase ending in an authentic cadence (AC). An authentic cadence occurs whenever a phrase ends with V or viiº going to I (or i if minor). Listen to the above example, noting the sound of both cadences.

Authentic cadences are often classified as either perfect or imperfect. To be considered a perfect authentic cadence (PAC), the cadence must meet three requirements. First, V must be used rather than viiº. Second, both chords must be in root position. Finally, the highest note of the I (or i) chord must be the tonic of the scale.

An imperfect authentic cadence (IAC) fails to meet these requirements. The above authentic cadences are all imperfect due to various reasons. In the first example, a viiº is used instead of a V. In the second example, one of the chords is not in root position. In the third example, the highest note of the I chord is not the tonic of the scale.

In addition to authentic and half cadences, two other kinds exist. If a phrase ends with IV (or iv) going to I (or i), a plagal cadence (PC) occurs. Listen to the above example, note the sound of the plagal cadence.

If a phrase ends with V going to vi (or VI in minor), a deceptive cadence (DC) occurs. Deceptive cadences are often used in place of an authentic cadence. Recall the musical example used at the beginning of this lesson. Notice that we have replaced the authentic cadence at the end of the second phrase with a deceptive cadence. Listen to the modified example. Notice how the cadence "deceives" you (since you are expecting to hear a I).