common chord cadences

The "cadencing of chords" simply implies the creating and release of musical tension within a musical phrase. The various types of cadences we enjoy revolve around to what extent they define a particular pitch or chord as the tonal center within a piece of music. If it's just a pause in the phrase, the cadence is softer, less definite in regards to key center. End of main musical section etc., usually a bit more definite. And although any chord can go anywhere, due to such concepts as artistic license and the modern approach, there are some common harmonic cadential motions that perhaps transcend style, era or national ethnic origin. The following harmonic ideas come from the common practice of composers, of working with the musical elements as provided by the equal temperament system, while mixing in a touch of the blues.

While there are numerous theoretical labels for the myriad of different types cadences, three distinct harmonic motions are worthy of note for the emerging creative musician. These are termed the authentic, plagel and deceptive cadences. Cadential variations, the "who, what, when, where and why" of how each of us as artists create and release the artistic tension in our music, is limited only by our own imaginations. The following ideas initially come to us from our European friends and present the most widely used and imitated cadential motions, based on the natural properties of the equal temperament system and the 400 or so years of written musical history.

So, what is the core that motors these cadential motions? Where does the essential aural tension come from that creates the forward motion and need to release or resolve? Can we completely isolate this "kernel of dissonant energy" and see how the dissonance is resolved? You betcha. We do it all here. Check out the following idea, using the pitches of C major. Example 1.

In the above cadential motion, the dissonant energy within the interval of the tritone, created between the pitches B and F in the first bar above, is released by contrary motion into the consonant major third interval C and E in bar 2, the tonic release. Cool with this? This simple tritone tension / tonic resolution is perhaps the "square one" of harmonic tension and release. We can encapsulate both of the above components within larger chord structures, color and voice them a gillion different ways and still retain this tension, resolving when, where and how are artistic muse guides us. With this tritone resolution in mind, let's place it within other cadences commonly found within the various styles of American music.

Basing our sequence of cadential discovery on the principles of the overtone series, the first common harmonic motion in both the major and minor tonalities is simply motion of the Five chord to One and is perhaps the most common way to encapsulate the tension / release tritone cell of example 1. Often termed a perfect authentic cadence, it is authentic if a root position Five chord resolves to a root position One chord. Perfection results if the tonic pitch is in the bass and soprano of the One chord, thus providing the ultimate sense of rest or tonal stability? That's the idea. Perfect authentic cadence in C major. Example 2.

Sound familiar? We hear this cadence and it's endless variations in all of the styles of American music. So, what is meant by a imperfect authentic cadence? Simply the tonic pitch is not in the bass ( root ) and / or the soprano voice ( lead ).

We can create the same common motion in the minor tonality. There are two versions. One is said to be "perfect", due to the major triad of the Five chord. The second is termed "modal", due to the diatonic minor triad of the Five chord. Example 2a.

Is there a difference between these two cadences in example 2? The presence of the leading tone is the key pitch between the two motions. What does your ear tell you? How would you describe the difference between the emotional environments created by the two authentic cadences in the minor tonality?

A second common harmonic cadential motion is the Four chord moving to One. This is termed a "plagel" or "half" cadence and is common in both the major and minor tonalities.  The terms described above, perfect and authentic apply here as well. Example 3.

Cool with hearing the difference between the major and minor tonalities? Bars 9 and 10 above create the "amen" effect, so common in blues, gospel and revival music. The plagel cadence in the minor tonality is a very character color don't you think?

The third broad classification of cadential motion is termed the "deceptive" cadence. As the name implies, the deceptive cadence takes advantage of the listeners expectations and resolves to a unexpected places. Among the "deceptions" include cadencing to a minor chord within the major tonality. The most common is to go to Six, the relative minor key of the tonic major. C major / A minor. Example 4.

Cool eh? Very common but potentially very effective.

In the minor tonality, we can create a deceptive cadence by setting up the motion to the minor tonic a couple of ways. Rock and folk players often move from Six to Seven then resolve to the minor tonic triad. Example 4a.

We can "deceptivise" this last motion by altering the tonic to a major triad. Combining things this way in one sense begs for a bit of the blues n'est pas? Example 4b.

Creating a vamp, try this last idea to end your song in the minor tonality, maybe use it also as an intro but with a minor triad initially, minor in the intro, major going out etc., giving the tune a bit of a "major lift" as you go out.

Here we use a similar idea as above but with the minor Four and Five chords, then "deceptively" making the final chord a major triad. To bring the light after darkness, or some such Euro-classical fantasy. For some reason unknown to most, this coloring of the final chord in the minor tonality is known as the "Picardy" third. Example 5.

Another version of the above deceptive cadence is one blues players use on occasion.   After testifying in the minor tonality for the duration of the tune, i.e., blues / minor key, the deception comes on the very, very last chord of the arrangement, and is simply transformed as above from minor to major. When no one "gives it away" it can really change the color of the room in a hurry. Here's the idea in C minor blues. Example 6.

Guess you had to be there, sorry. Perhaps it is just one of those things that works out best on the stand. Well, we are just considering options here right? Again, the theorist, like ourselves, call this deceptiveness in the minor tonality the "Picardy" third, and although it has a name, no one seems to know from whence it came. Sounds Italian, yes? Now there's the first clue for the research!

Perhaps a more modern sounding deceptive cadential motion is to sub out a tonic type chord built on flat Two for the tonic or One chord. In either of the major or minor environments, the results are the same. Total coolness. That is if you dig this sort of thing.  Resolving to flat Two via Two / Five, in C major then minor. Example 7.

Total coolness? Well, it ain't 50's rock and roll material but ... Perhaps try this motion as a tag on one of your arrangements. Other cadential possibilities? There are tons. Best source for cadential ideas? Perhaps the music you love to listen to and play? Explore.

Review. Cadential motion is akin to phrasing our ideas in a verbal way and we can to a certain extent project the closure of our musical ideas based on how we cadence our phrases. Chord cadences are said to be "perfect" or "imperfect", based on the voicings of the chords, each having a unique degree of closure for a phrase. "Authentic", "plagel"  or "half" cadences depending on which chords are used. The Five chord creates authentic cadences, the Four chord the plagel or half cadences. There is also the "deceptive" cadence, which "surprises" the listener by oftentimes changing tonalities from major to minor or vice versa. Additional cadence possibilities are said to be "modal cadences", which includes practically anything that does not fit into any of the above categories. Cool with these ideas? A key educational aspect would be to hear a cadential motion and label it using the above terms, perhaps a goal for the emerging creative artist?

"A scholar who cherishes the love of comfort is not fit to be deemed a scholar." Lao-Tzu (570?-490? BC)