Learning and Loving Music Theory

Harmonic Rhythm and Cadences

Harmonic Rhythm

Harmonic rhythm is how often chords change in a passage of music, and is measured in note values. For example, if chords change every half-note, we say “the harmonic rhythm is a half-note.” Or, if the harmony changes every quarter note, we say “the harmonic rhythm is a quarter-note.” Sometimes the harmonic rhythm is a combination of note values that change at a regular rhythm, such as a half-note followed by a quarter-note:

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Introduction to Cadences

We have described tonal harmony as a hierarchy of pitches and chords where one pitch or chord has prominence over all the others. This tone or chord, as we learned in this music theory lesson, is the tonic scale degree. We might say that the tonic is the goal in a piece of tonal music. In order to reach that goal, the music progresses towards it (hence, the term harmonic progression).

Harmonic progressions set up expectations in our ears, expectations that are fulfilled only when the tonic chord is reached. Some of the greatest music ever written plays on this idea by setting up expectations, then denying them, creating tension in the music. This tension gives way to relaxation when the tonic chord is finally reached. When music comes to a point of relaxation or repose, it is called a cadence.

All of the elements of music (melody, harmony, rhythm, dynamics, timbre) contribute to cadence, but traditionally, we classify cadences according to their harmonic content. Most of the time, cadences are easy to identify because of the sense of culmination they create in the music. For example, cadences are often accompanied by longer note values, a slowing of the tempo, and a change in the harmonic rhythm.

But not all cadences end with the tonic chord. There are many cadences of varying degrees of strength. Some cadences sound complete, that is, the music comes to a rest, and we don’t hear a need for the music to continue. These types of cadences are called conclusive cadences. Then there are cadences that do not sound complete, that is, the music sounds like it needs to continue. We call these types of cadences inconclusive cadences.

For the remainder of this lesson we’ll show you how to identify and label the various cadence types. In future lessons, we’ll see how these cadences work in actual music. Use this lesson as a reference and to help you memorize the cadences.

Conclusive Cadences

Authentic Cadence

The authentic cadence is the most fundamental and final sounding of all cadences. It consists of a dominant triad or dominant seventh chord followed by the tonic triad (V-I, V7-I). There are two types of authentic cadences: the Perfect Authentic Cadence (PAC), and the Imperfect Authentic Cadence (IAC).

Perfect Authentic Cadence (PAC)

The perfect authentic cadence has specific requirments:

It is a V-I or V7-I progression.
Both chords, V and I, must be in root position.
Scale degree one () must be in the soprano of the I chord.

Here are two examples of a perfect authentic cadence.

Imperfect Authentic Cadence (IAC)

Any authentic cadence (V-I or V7-I) that does not meet the requirements above, is an imperfect authentic cadence. In the first example, scale degree one () is not in the soprano. In the second example, the V chord is not in root position:

Plagal Cadence (PC)

The Plagal Cadence, a IV moving to a I, often is called the “Amen” cadence because of its frequent occurrence at the end of hymns:

Inconclusive Cadences

Half Cadence (HC)

Any cadence that ends with a V chord is a half cadence:

Phrygian Half Cadence (PHC)

A Phrygian half cadence is a iv6-V progression and occurs only in a minor mode. It is characterized by a descending half-step in the bass. The soprano usually contains scale degree 4 moving to 5, but this is not a requirement.

Deceptive Cadence (DC)

When we hear a dominant chord near the end of a musical phrase, we are expecting a resolution to the tonic chord. The deceptive cadence denies this expectation. The most common deceptive cadence is the dominant chord moving to a vi. A variant of the V-vi, and a favorite of Handel, is the V moving to a IV6:

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Secondary Dominants in Action

For this lesson, I’m assuming you understand the concept of secondary dominants. If you haven’t done so already, read this music theory lesson, which explains them in detail. Now, we’ll look at how secondary dominants work in actual music.

Harmonic Sequences and Secondary Dominants

Harmonic sequence, a pattern of chords repeated at different pitch levels, is a powerful musical device. In an earlier music theory lesson, we looked at a common harmonic sequence where the chord roots move up a 4th, then down a 3rd:

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See this music theory lesson for a complete discussion of this sequence and an example from Handel’s Messiah.

A common variant of this sequence is to make some chords secondary dominants. Remember, a secondary dominant must be a major chord or a dominant seventh (major-minor seventh) chord. If we make the ii and iii chords in this progression major chords, they become secondary dominants:

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The great composer from the Baroque era, Antonio Vivaldi (1678-1741), loved to use harmonic sequences. The following excerpt is from one of his violin concertos, where he uses this sequential progession (↑4-↓3) with secondary dominant seventh chords in first inversion:

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Notice, that by using the secondary dominants in first inversion, the bass line ascends chromatically (by half-steps). You can download a performance of the entire movement here:

Vivaldi, Concerto for violin in D major, RV 230 - op.3 no.9: Allegro

The Circle-of-5ths Sequential Progression with Secondary Dominants

For a complete discussion of the diatonic circle-of-fifths with seventh chords, see this music theory lesson. As a quick reminder, here is the progression:

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Now, beginning with the vii7 chord, we’ll make every other chord a secondary dominant:

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In order to make the progression smoother, we remove the seventh from the chords that are being tonicized (iii and ii), and resolve the secondary dominant seventh chords normally.

If we really wanted to get carried away, we could make every chord (starting with the vii7) of the circle-of-fifths sequence a secondary dominant. You can find progressions like this one in 19th-century and barbershop music:

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A Fortress of Secondary Dominants

It’s pretty difficult to find music without secondary dominants. When you’re studying music, and you come across a chromatic chord, here are the steps to determine if it is a secondary dominant:

Is the chromatic chord a major or a major-minor seventh chord? If yes, continue to step 2. If not, the chord is not a secondary dominant.
Identify the note that is a perfect fifth (P5) below the root of the chromatic chord. Can you build a major or minor chord on that note without adding accidentals? (That is, is the major or minor chord diatonic in the given key?) If yes, then the chromatic chord is a secondary dominant.

The famous hymn, A Mighty Fortress is Our God, has numerous secondary dominants. Below is a link to a pdf version of the hymn with all of the chords analyzed. Click the play button, then click the thumbnail of the score to open it.

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There are several additional progressions with secondary dominants on the Harmonic Progressions page, written out in every major and minor key. These progressions feature secondary dominants in various inversions, and are designed to familiarize you with the most common secondary dominants. If you practice playing these progressions on a keyboard, you’ll be well on your way to becoming fluent with the most common chromatic chord in tonal music.

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Harmony Table of Contents

Lessons Table of Contents