Can we have a perfect cadence in a minor key?Do different modes have the same cadence structure?Name for a group of notes made up of a root, major third, and perfect 4th?Making part of a triad chord sharper, but is it counted as minor?Triads with thirds that aren't major or minor?Name for major/minor ambiguity in cadenceIs this cadence correctly written?Is this an imperfect authentic cadence in a minor key?Is there a specific name for the use of IV chord over the V in the bass, e.g. F/G in the key of CIs the sense of resolution of a harmonic cadence psychologically “intrinsic”, or is it created through conditioning?Understanding the concept of a “Cadence”

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Can we have a perfect cadence in a minor key?

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Can we have a perfect cadence in a minor key?


Do different modes have the same cadence structure?Name for a group of notes made up of a root, major third, and perfect 4th?Making part of a triad chord sharper, but is it counted as minor?Triads with thirds that aren't major or minor?Name for major/minor ambiguity in cadenceIs this cadence correctly written?Is this an imperfect authentic cadence in a minor key?Is there a specific name for the use of IV chord over the V in the bass, e.g. F/G in the key of CIs the sense of resolution of a harmonic cadence psychologically “intrinsic”, or is it created through conditioning?Understanding the concept of a “Cadence”













2















I understand that, at least in the context of using a major scale, a perfect cadence is V-I. That is, if I were playing a piece in C major, I could play a chord similiar to the G major triad followed by a chord similar to the C major triad.*



What about in a minor key? If my piece is in the key of A minor, would I achieve a perfect cadence by playing an E major chord followed by an A major chord? Or would I instead have to play an E minor chord followed by an A minor chord?




Footnotes:



*I know that some theorists say that its not a perfect cadence unless the highest note of the I chord is the tonic note. For my purposes, however, I'm not using that convention.










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    2















    I understand that, at least in the context of using a major scale, a perfect cadence is V-I. That is, if I were playing a piece in C major, I could play a chord similiar to the G major triad followed by a chord similar to the C major triad.*



    What about in a minor key? If my piece is in the key of A minor, would I achieve a perfect cadence by playing an E major chord followed by an A major chord? Or would I instead have to play an E minor chord followed by an A minor chord?




    Footnotes:



    *I know that some theorists say that its not a perfect cadence unless the highest note of the I chord is the tonic note. For my purposes, however, I'm not using that convention.










    share|improve this question









    New contributor




    Pascal's Wager is a new contributor to this site. Take care in asking for clarification, commenting, and answering.
    Check out our Code of Conduct.






















      2












      2








      2








      I understand that, at least in the context of using a major scale, a perfect cadence is V-I. That is, if I were playing a piece in C major, I could play a chord similiar to the G major triad followed by a chord similar to the C major triad.*



      What about in a minor key? If my piece is in the key of A minor, would I achieve a perfect cadence by playing an E major chord followed by an A major chord? Or would I instead have to play an E minor chord followed by an A minor chord?




      Footnotes:



      *I know that some theorists say that its not a perfect cadence unless the highest note of the I chord is the tonic note. For my purposes, however, I'm not using that convention.










      share|improve this question









      New contributor




      Pascal's Wager is a new contributor to this site. Take care in asking for clarification, commenting, and answering.
      Check out our Code of Conduct.












      I understand that, at least in the context of using a major scale, a perfect cadence is V-I. That is, if I were playing a piece in C major, I could play a chord similiar to the G major triad followed by a chord similar to the C major triad.*



      What about in a minor key? If my piece is in the key of A minor, would I achieve a perfect cadence by playing an E major chord followed by an A major chord? Or would I instead have to play an E minor chord followed by an A minor chord?




      Footnotes:



      *I know that some theorists say that its not a perfect cadence unless the highest note of the I chord is the tonic note. For my purposes, however, I'm not using that convention.







      theory chords cadence






      share|improve this question









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      Pascal's Wager is a new contributor to this site. Take care in asking for clarification, commenting, and answering.
      Check out our Code of Conduct.











      share|improve this question









      New contributor




      Pascal's Wager is a new contributor to this site. Take care in asking for clarification, commenting, and answering.
      Check out our Code of Conduct.









      share|improve this question




      share|improve this question








      edited 1 hour ago









      Richard

      43.5k7100186




      43.5k7100186






      New contributor




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      asked 5 hours ago









      Pascal's WagerPascal's Wager

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      New contributor





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          2 Answers
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          active

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          4














          For starters, we can call this cadence an authentic cadence, since by definition that is understood to be a V–I motion. The highest note distinguishes between perfect and imperfect authentic cadences.



          With that said, an authentic cadence is simply a root-position dominant moving to a root-position tonic. Whether tonic is major or minor will not affect the quality of the cadence.



          In fact, the quality of the tonic chord can be opposite of what you expect and still be considered a perfect authentic cadence. This is pretty intuitive in minor; ending on a major tonic almost makes the cadence more final. But even in major, if we suddenly cadence onto a minor tonic, this is still a perfect authentic cadence. (Although we'd certainly want to clarify that it's attenuated in some way with the unexpected shift to minor.)






          share|improve this answer























          • 'Imperfect authentic' cadence gets dangerously close to the UK 'imperfect cadence', which is the reverse of our 'perfect' cadence, i.e. I>V. Confusing, init?

            – Tim
            3 hours ago


















          3














          Americans seem to call a 'Perfect cadence' an 'Authentic cadence'. And there's this new thing a 'Perfect Authentic cadence'. OK, whatever. Dominant to tonic. Perfect (or Authentic) cadence.



          This is a Common Practice, Functional Harmony thing. A world where minor scales are Harmonic (at cadence points, at any rate), dominant chords are major and thus include the leading note. But tonics can be minor. The urge to 'regularise' a final cadence in a minor key with a Tierce di Picardie was not always followed!



          So, G7 - C is a Perfect cadence. So is E7 - Am. And we don't have to change that to E7 - A in order to make it one.



          Em - Am does happen, and it has every right to be considered some sort of a cadence. But it isn't a Perfect one.






          share|improve this answer


















          • 1





            I have music theory books written in the 1970s that teach the “perfect authentic cadence”. I’m not sure how old the term is beyond that but I’m not convinced it’s “new”.

            – Todd Wilcox
            3 hours ago











          • @ToddWilcox - probably not that new, but certainly U.S. based. In U.K. it's not a term used often, in fact, in exams, the four main cadences are the only ones used: perfect, imperfect, interrupted and plagal. Not sure, but U.S. most likely don't use any of those terms!

            – Tim
            2 hours ago











          • @Tim I was taught all of those terms. In the U.S.

            – Todd Wilcox
            2 hours ago












          • A book called Woodruff’s Comprehensive Music Course from 1899 has a section on the “perfect authentic cadence”. It does appear to be an American book.

            – Todd Wilcox
            1 hour ago











          • @ToddWilcox - it would be good to have a list of all cadences, to use as a reference point.

            – Tim
            1 hour ago










          Your Answer








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          2 Answers
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          active

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          2 Answers
          2






          active

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          active

          oldest

          votes






          active

          oldest

          votes









          4














          For starters, we can call this cadence an authentic cadence, since by definition that is understood to be a V–I motion. The highest note distinguishes between perfect and imperfect authentic cadences.



          With that said, an authentic cadence is simply a root-position dominant moving to a root-position tonic. Whether tonic is major or minor will not affect the quality of the cadence.



          In fact, the quality of the tonic chord can be opposite of what you expect and still be considered a perfect authentic cadence. This is pretty intuitive in minor; ending on a major tonic almost makes the cadence more final. But even in major, if we suddenly cadence onto a minor tonic, this is still a perfect authentic cadence. (Although we'd certainly want to clarify that it's attenuated in some way with the unexpected shift to minor.)






          share|improve this answer























          • 'Imperfect authentic' cadence gets dangerously close to the UK 'imperfect cadence', which is the reverse of our 'perfect' cadence, i.e. I>V. Confusing, init?

            – Tim
            3 hours ago















          4














          For starters, we can call this cadence an authentic cadence, since by definition that is understood to be a V–I motion. The highest note distinguishes between perfect and imperfect authentic cadences.



          With that said, an authentic cadence is simply a root-position dominant moving to a root-position tonic. Whether tonic is major or minor will not affect the quality of the cadence.



          In fact, the quality of the tonic chord can be opposite of what you expect and still be considered a perfect authentic cadence. This is pretty intuitive in minor; ending on a major tonic almost makes the cadence more final. But even in major, if we suddenly cadence onto a minor tonic, this is still a perfect authentic cadence. (Although we'd certainly want to clarify that it's attenuated in some way with the unexpected shift to minor.)






          share|improve this answer























          • 'Imperfect authentic' cadence gets dangerously close to the UK 'imperfect cadence', which is the reverse of our 'perfect' cadence, i.e. I>V. Confusing, init?

            – Tim
            3 hours ago













          4












          4








          4







          For starters, we can call this cadence an authentic cadence, since by definition that is understood to be a V–I motion. The highest note distinguishes between perfect and imperfect authentic cadences.



          With that said, an authentic cadence is simply a root-position dominant moving to a root-position tonic. Whether tonic is major or minor will not affect the quality of the cadence.



          In fact, the quality of the tonic chord can be opposite of what you expect and still be considered a perfect authentic cadence. This is pretty intuitive in minor; ending on a major tonic almost makes the cadence more final. But even in major, if we suddenly cadence onto a minor tonic, this is still a perfect authentic cadence. (Although we'd certainly want to clarify that it's attenuated in some way with the unexpected shift to minor.)






          share|improve this answer













          For starters, we can call this cadence an authentic cadence, since by definition that is understood to be a V–I motion. The highest note distinguishes between perfect and imperfect authentic cadences.



          With that said, an authentic cadence is simply a root-position dominant moving to a root-position tonic. Whether tonic is major or minor will not affect the quality of the cadence.



          In fact, the quality of the tonic chord can be opposite of what you expect and still be considered a perfect authentic cadence. This is pretty intuitive in minor; ending on a major tonic almost makes the cadence more final. But even in major, if we suddenly cadence onto a minor tonic, this is still a perfect authentic cadence. (Although we'd certainly want to clarify that it's attenuated in some way with the unexpected shift to minor.)







          share|improve this answer












          share|improve this answer



          share|improve this answer










          answered 5 hours ago









          RichardRichard

          43.5k7100186




          43.5k7100186












          • 'Imperfect authentic' cadence gets dangerously close to the UK 'imperfect cadence', which is the reverse of our 'perfect' cadence, i.e. I>V. Confusing, init?

            – Tim
            3 hours ago

















          • 'Imperfect authentic' cadence gets dangerously close to the UK 'imperfect cadence', which is the reverse of our 'perfect' cadence, i.e. I>V. Confusing, init?

            – Tim
            3 hours ago
















          'Imperfect authentic' cadence gets dangerously close to the UK 'imperfect cadence', which is the reverse of our 'perfect' cadence, i.e. I>V. Confusing, init?

          – Tim
          3 hours ago





          'Imperfect authentic' cadence gets dangerously close to the UK 'imperfect cadence', which is the reverse of our 'perfect' cadence, i.e. I>V. Confusing, init?

          – Tim
          3 hours ago











          3














          Americans seem to call a 'Perfect cadence' an 'Authentic cadence'. And there's this new thing a 'Perfect Authentic cadence'. OK, whatever. Dominant to tonic. Perfect (or Authentic) cadence.



          This is a Common Practice, Functional Harmony thing. A world where minor scales are Harmonic (at cadence points, at any rate), dominant chords are major and thus include the leading note. But tonics can be minor. The urge to 'regularise' a final cadence in a minor key with a Tierce di Picardie was not always followed!



          So, G7 - C is a Perfect cadence. So is E7 - Am. And we don't have to change that to E7 - A in order to make it one.



          Em - Am does happen, and it has every right to be considered some sort of a cadence. But it isn't a Perfect one.






          share|improve this answer


















          • 1





            I have music theory books written in the 1970s that teach the “perfect authentic cadence”. I’m not sure how old the term is beyond that but I’m not convinced it’s “new”.

            – Todd Wilcox
            3 hours ago











          • @ToddWilcox - probably not that new, but certainly U.S. based. In U.K. it's not a term used often, in fact, in exams, the four main cadences are the only ones used: perfect, imperfect, interrupted and plagal. Not sure, but U.S. most likely don't use any of those terms!

            – Tim
            2 hours ago











          • @Tim I was taught all of those terms. In the U.S.

            – Todd Wilcox
            2 hours ago












          • A book called Woodruff’s Comprehensive Music Course from 1899 has a section on the “perfect authentic cadence”. It does appear to be an American book.

            – Todd Wilcox
            1 hour ago











          • @ToddWilcox - it would be good to have a list of all cadences, to use as a reference point.

            – Tim
            1 hour ago















          3














          Americans seem to call a 'Perfect cadence' an 'Authentic cadence'. And there's this new thing a 'Perfect Authentic cadence'. OK, whatever. Dominant to tonic. Perfect (or Authentic) cadence.



          This is a Common Practice, Functional Harmony thing. A world where minor scales are Harmonic (at cadence points, at any rate), dominant chords are major and thus include the leading note. But tonics can be minor. The urge to 'regularise' a final cadence in a minor key with a Tierce di Picardie was not always followed!



          So, G7 - C is a Perfect cadence. So is E7 - Am. And we don't have to change that to E7 - A in order to make it one.



          Em - Am does happen, and it has every right to be considered some sort of a cadence. But it isn't a Perfect one.






          share|improve this answer


















          • 1





            I have music theory books written in the 1970s that teach the “perfect authentic cadence”. I’m not sure how old the term is beyond that but I’m not convinced it’s “new”.

            – Todd Wilcox
            3 hours ago











          • @ToddWilcox - probably not that new, but certainly U.S. based. In U.K. it's not a term used often, in fact, in exams, the four main cadences are the only ones used: perfect, imperfect, interrupted and plagal. Not sure, but U.S. most likely don't use any of those terms!

            – Tim
            2 hours ago











          • @Tim I was taught all of those terms. In the U.S.

            – Todd Wilcox
            2 hours ago












          • A book called Woodruff’s Comprehensive Music Course from 1899 has a section on the “perfect authentic cadence”. It does appear to be an American book.

            – Todd Wilcox
            1 hour ago











          • @ToddWilcox - it would be good to have a list of all cadences, to use as a reference point.

            – Tim
            1 hour ago













          3












          3








          3







          Americans seem to call a 'Perfect cadence' an 'Authentic cadence'. And there's this new thing a 'Perfect Authentic cadence'. OK, whatever. Dominant to tonic. Perfect (or Authentic) cadence.



          This is a Common Practice, Functional Harmony thing. A world where minor scales are Harmonic (at cadence points, at any rate), dominant chords are major and thus include the leading note. But tonics can be minor. The urge to 'regularise' a final cadence in a minor key with a Tierce di Picardie was not always followed!



          So, G7 - C is a Perfect cadence. So is E7 - Am. And we don't have to change that to E7 - A in order to make it one.



          Em - Am does happen, and it has every right to be considered some sort of a cadence. But it isn't a Perfect one.






          share|improve this answer













          Americans seem to call a 'Perfect cadence' an 'Authentic cadence'. And there's this new thing a 'Perfect Authentic cadence'. OK, whatever. Dominant to tonic. Perfect (or Authentic) cadence.



          This is a Common Practice, Functional Harmony thing. A world where minor scales are Harmonic (at cadence points, at any rate), dominant chords are major and thus include the leading note. But tonics can be minor. The urge to 'regularise' a final cadence in a minor key with a Tierce di Picardie was not always followed!



          So, G7 - C is a Perfect cadence. So is E7 - Am. And we don't have to change that to E7 - A in order to make it one.



          Em - Am does happen, and it has every right to be considered some sort of a cadence. But it isn't a Perfect one.







          share|improve this answer












          share|improve this answer



          share|improve this answer










          answered 4 hours ago









          Laurence PayneLaurence Payne

          36.7k1671




          36.7k1671







          • 1





            I have music theory books written in the 1970s that teach the “perfect authentic cadence”. I’m not sure how old the term is beyond that but I’m not convinced it’s “new”.

            – Todd Wilcox
            3 hours ago











          • @ToddWilcox - probably not that new, but certainly U.S. based. In U.K. it's not a term used often, in fact, in exams, the four main cadences are the only ones used: perfect, imperfect, interrupted and plagal. Not sure, but U.S. most likely don't use any of those terms!

            – Tim
            2 hours ago











          • @Tim I was taught all of those terms. In the U.S.

            – Todd Wilcox
            2 hours ago












          • A book called Woodruff’s Comprehensive Music Course from 1899 has a section on the “perfect authentic cadence”. It does appear to be an American book.

            – Todd Wilcox
            1 hour ago











          • @ToddWilcox - it would be good to have a list of all cadences, to use as a reference point.

            – Tim
            1 hour ago












          • 1





            I have music theory books written in the 1970s that teach the “perfect authentic cadence”. I’m not sure how old the term is beyond that but I’m not convinced it’s “new”.

            – Todd Wilcox
            3 hours ago











          • @ToddWilcox - probably not that new, but certainly U.S. based. In U.K. it's not a term used often, in fact, in exams, the four main cadences are the only ones used: perfect, imperfect, interrupted and plagal. Not sure, but U.S. most likely don't use any of those terms!

            – Tim
            2 hours ago











          • @Tim I was taught all of those terms. In the U.S.

            – Todd Wilcox
            2 hours ago












          • A book called Woodruff’s Comprehensive Music Course from 1899 has a section on the “perfect authentic cadence”. It does appear to be an American book.

            – Todd Wilcox
            1 hour ago











          • @ToddWilcox - it would be good to have a list of all cadences, to use as a reference point.

            – Tim
            1 hour ago







          1




          1





          I have music theory books written in the 1970s that teach the “perfect authentic cadence”. I’m not sure how old the term is beyond that but I’m not convinced it’s “new”.

          – Todd Wilcox
          3 hours ago





          I have music theory books written in the 1970s that teach the “perfect authentic cadence”. I’m not sure how old the term is beyond that but I’m not convinced it’s “new”.

          – Todd Wilcox
          3 hours ago













          @ToddWilcox - probably not that new, but certainly U.S. based. In U.K. it's not a term used often, in fact, in exams, the four main cadences are the only ones used: perfect, imperfect, interrupted and plagal. Not sure, but U.S. most likely don't use any of those terms!

          – Tim
          2 hours ago





          @ToddWilcox - probably not that new, but certainly U.S. based. In U.K. it's not a term used often, in fact, in exams, the four main cadences are the only ones used: perfect, imperfect, interrupted and plagal. Not sure, but U.S. most likely don't use any of those terms!

          – Tim
          2 hours ago













          @Tim I was taught all of those terms. In the U.S.

          – Todd Wilcox
          2 hours ago






          @Tim I was taught all of those terms. In the U.S.

          – Todd Wilcox
          2 hours ago














          A book called Woodruff’s Comprehensive Music Course from 1899 has a section on the “perfect authentic cadence”. It does appear to be an American book.

          – Todd Wilcox
          1 hour ago





          A book called Woodruff’s Comprehensive Music Course from 1899 has a section on the “perfect authentic cadence”. It does appear to be an American book.

          – Todd Wilcox
          1 hour ago













          @ToddWilcox - it would be good to have a list of all cadences, to use as a reference point.

          – Tim
          1 hour ago





          @ToddWilcox - it would be good to have a list of all cadences, to use as a reference point.

          – Tim
          1 hour ago










          Pascal's Wager is a new contributor. Be nice, and check out our Code of Conduct.









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          名間水力發電廠 目录 沿革 設施 鄰近設施 註釋 外部連結 导航菜单23°50′10″N 120°42′41″E / 23.83611°N 120.71139°E / 23.83611; 120.7113923°50′10″N 120°42′41″E / 23.83611°N 120.71139°E / 23.83611; 120.71139計畫概要原始内容臺灣第一座BOT 模式開發的水力發電廠-名間水力電廠名間水力發電廠 水利署首件BOT案原始内容《小檔案》名間電廠 首座BOT水力發電廠原始内容名間電廠BOT - 經濟部水利署中區水資源局