Prior Knowledge: Rules of chorale harmony, basic cadences, scales, chords (and their inversions) and keys. You should already have looked at Lesson 5: Perfect Cadence Fingerprints.
Content of Lesson: This lesson will show you how you can create imperfect cadences and use approach chords in ways that are typical of the chorale style.
Considering Imperfect Cadences in Chorales
Perfect cadences are relatively restricted in their options because they must always include the V – I chord progression. Imperfect cadences on the other hand have many variations, including I – V, ii – V and IV – V.
Because of this, there are far more options for imperfect cadences than there are for perfect cadences. This lesson does not give an exhaustive list of imperfect fingerprints, but will cover four of the most common.
As with Lesson 5: Perfect Cadence Fingerprints, we will notate the melodic pattern by scale degrees in standard numbering (i.e. 3-3-2) and chords, as always, with roman numerals.
3-3-2: I – Ib – V
This progression could be labelled as either of the above. The stepwise run in the bass is critical to this fingerprint, as it produces a strong lead up to the dominant note as well as contrary motion with the melody. Inner parts are very simple and static. The Ib chord has a doubled 3rd, which you would not normally do, however in this instance as the bassline is so strong that it negates any negative effect.
4-3-2: IVb – I – V and V7b – I – V
Here, you have potential to create harmonic interest with both options. IVb – I – V allows a passing note in the bass while the V7b – I – V has a dissonance in the V7b, however you must remember to prepare it adequately as a suspension (see Lesson 10: Suspensions) should you choose to use it.
3-4-5 and 5-4-5: Phrygian Cadence (i-ivb-V)
With both of these fingerprints comes the opportunity to employ a phrygian cadence, which is identifiable by the falling semitone in the bass between ivb and V. It will usually occur in a minor key, and is a great option for creating a strong bassline in contrary motion to the melody, especially once passing notes are added as in the second example.
Imperfect Cadence Practice Tasks
Write out cadences in three different keys for the following melodic patterns. Use the material above to help you.
- 3-3-2
- 4-3-2
- 3-4-5
- 5-4-5
Summary
While these are among the most common types of imperfect cadence, the possibilities are nearly endless and you can approach chord V from any chord to create imperfect cadences. After reading the above, you should now be able to harmonise imperfect cadences under melodic patterns 3-3-2, 4-3-2, 3-4-5 and 5-4-5. Make sure you are comfortable writing out these cadences in a variety of keys as in the task above.
When you are done with this lesson, you are ready for Lesson 7: Identifying Modulation and Cadences.