Perfect Authentic Cadence (PAC)
- V-I progression with both triads in root position
- Root in soprano voice of the I chord
- The strongest type of cadence, the PAC is most commonly found at structurally defining moments
Imperfect Authentic Cadence (IAC)
- V-I progression with one or both chords inverted
- And/or the 3rd or 5th in the soprano of the I chord
- vii diminished chord may replace the V chord
Half Cadence (HC)
- Any cadence ending on the V chord
- Relatively weak progression
- Usually followed by a continuation of music, used as a pause
Perfect Plagal Cadence (PPC)
- IV-I progression
- Both triads in root position with the root in the soprano of the I chord
- Sometimes referred to as the “Amen Cadence” as it is frequently accompanying the text “Amen” in hymns
Imperfect Plagal Cadence (IPC)
- IV-I progression
- One or both chords inverted
- And/or having the 3rd or 5th in the soprano of the I chord
Deceptive Cadence
- V chord going to anything besides the I chord
- Because of the hanging feeling of this unresolved cadence, the deceptive cadence is considered very weak
Perfect Authentic Cadence (PAC)
Half Cadence (HC)
Imperfect Authentic Cadence (IAC)
Imperfect Plagal Cadence (IPC)
Perfect Authentic Cadence (PAC)
Deceptive Cadence
Perfect Plagal Cadence (PPC)
Deceptive Cadence
Imperfect Authentic Cadence (IAC)
Half Cadence (HC)
Perfect Authentic Cadence (PAC)
Imperfect Plagal Cadence (IPC)
Half Cadence (HC)
Imperfect Authentic Cadence (IAC)
Perfect Plagal Cadence (PPC)
Perfect Authentic Cadence (PAC)
Deceptive Cadence
Half Cadence (HC)
Imperfect Plagal Cadence (IPC)
Imperfect Authentic Cadence (IAC)
Half Cadence (HC)
Imperfect Plagal Cadence (IPC)
Perfect Authentic Cadence (PAC)
Imperfect Authentic Cadence (IAC)
Half Cadence (HC)
Perfect Plagal Cadence (PPC)
Deceptive Cadence
Imperfect Authentic Cadence (IAC)