 Hi, welcome to another music theory lesson. Today's lesson is for the vertical theory students and this is vertical theory number eight and this is a lesson on cadences in music. Now a cadence in music is very much like punctuation. Cadences can fall into a lot of categories just like punctuation does. They can serve the role of a period or they can serve the role of a comma and we're going to try to define these various cadences as they work in major and minor keys and it's a it's a good little lesson here and we'll hopefully get you really really seeing cadence as well as we get into the next couple of lessons. There are two different kinds of cadences that we're going to deal with today and these are sort of the big descriptions. There are final cadences and there are progressive cadences. All right, and we're going to deal with each of them. When we're in a key, a final cadence is a cadence that serves the role of a period in pros. So final cadences can be two things. In a key, they can be a 5-1 progression or in a minor key, they end up being a 5-1 progression. Okay, that would be one type of final cadence and the other kind that we see of final cadences would be a 4-1 progression or in a minor key, it ends up being a minor 4 to a minor 1 and you should know how those relate to each other based on some of our previous lessons. So those are our final cadences. We're going to name those in a minute. Our progressive cadences are really fit into two categories as well. Our progressive cadences could be a 1-5 or a 4-5 in major or minor and the other type is a 5-6 cadence or a 5-6 in minor. Okay, so we're going to dive into each of those just a little bit more in a little bit more detail. Okay, so let's start with our final cadences and we're going to show you how these look and how they work. Our first final cadence I mentioned was the 5-1 progression. We call this a final authentic cadence. These are probably the most common and strongest cadence that we have in Western music. You're going to see them all through the music that you're learning. So we're going to see them all the time. Let's give you an example of a 5-1 cadence. If we have a key signature maybe of one sharp F-sharp, then our one chord would be a GbD, a G major chord. That's our one chord. So the five chord would be D F-sharp and A five. So when we're analyzing the music, if we see something that looks like this, that really is very strongly a 5-1 or an authentic cadence bringing us to some place of rest on the one chord. These happen at the end of phrases. They happen at the end of verses and they happen at the end of songs. 5-1 cadence doesn't matter if it's major or minor. If it happened to be a G minor, we'd have a Bb there. But that's our 5-1 cadence, a final authentic cadence. The other kind of cadence and the other vocabulary turn that we have here is the 4-1 cadence and we call that a final plagal, P-L-A-G-A-L. So let's get into a key. Let's put a B flat there. So we're in the key of F. So our one chord in F would be an F, A, and a C. Boom. Put our ending there. And the four chord would be a C major chord in the key of F, which gives us a 4-1 progression to some place where we're stopping. We'll put even a fermata there. That's the end of the song. And that is a 4-1 plagal cadence, final plagal cadence. You'll see that all over the place. Now, you also might see it in some inversion. So it wouldn't be odd at all. Let's see if I can take that note out. Maybe you would see the final plagal looking something like that, which would be an inversion. So really, what we've done is made a 4-6 going to a 1 and that would be very common. Wouldn't be something that would be a problem at all. Okay? Same with those five chords and the final authentic cadences. Okay, so that's what you're looking for for the final plagal. Let's move now to our progressive cadences. We've got two different kinds. Our first kind of progressive cadence is the progressive half, progressive half cadence, which is a 1 to a 5 or a 4 to a 5 at some place of rest. So let's assume we're in the key of D. Okay? Our one chord would be a D major chord, so something like this. And then it would go to a 5 chord, which is an A major chord, something like this. And I'll bet you there might be a fermata here or maybe a comma there or the end of a phrase, something that tells us that that one five progression is somehow acting almost like a comma before we go on to the next thing. A place of rest, a half cadence, is a 1 to 5. And it might be very similar if we had a 4 to 5, progressive half. And then finally, our last type of progressive cadence is when we have something like a 5 to a 6 or a 5 to a major 6, if it happens to be in a minor key, we're going to stay in the major keys for now. But a 5, 6 cadence would look something like, let's just pick another key. We'll go with two flats, B flat and E flat. So we're in the key of B flat major. So a 5 chord and B flat major would be an F chord. So F, A, C would be our 5 chord. And it's progressing then to a minor 6 chord, which would be G, B flat, D. So maybe something like this, this, and maybe even an inversion where we have something like a 5 to a 6. And that would be the 6, 4 inversion. And there we would have a progressive, it's called progressive deceptive. So we here have a progressive deceptive cadence. All right, so at this point, you know that you've got four options, you've got final authentic, you've got final plagal, you've got progressive half, and you've got progressive deceptive. These are your four options of cadences. So let's just give you an example of what you're going to see in your assignment. You're going to see a series of chords. And what I want you to do is analyze them within the key that you're working. So here you're going to go, okay, there's no sharps, no flats, I'm sintering around C, let's say that we're in C major. And you'll go, okay, I've got a 1 here, I've got a 1 here, I've got a 5, I've got a 1, and I've got a 6. Okay. And from there you'd go, okay, a 1 to 1, okay, that's none of the cadences. A 1 to a 5 is a progressive half. So that's that one. A 5 to a 1 is a final authentic. And a 1 to a 6 is a progressive deceptive. And here you will have done exactly what I want you to do to complete the assignment. After that, then you have some situations where you can write your own chords in. Those chords can all be written in root position. They don't have to be in inversions. And you'll be good to go. So we're really just getting used to cadences at this point. Good luck. I hope this explains it well for you. And go to work and try to get this thing finished up.