Authentic cadence

• Authentic (also closed, standard or perfect) cadence: V to I (or V–I). A seventh above the root is often added to create V⁷. The The Harvard Concise Dictionary of Music and Musicians says, "This cadence is a microcosm of the tonal system, and is the most direct means of establishing a pitch as tonic. It is virtually obligatory as the final structural cadence of a tonal work."^[1] The phrase perfect cadence is sometimes used as a synonym for authentic cadence, but can also have a more precise meaning depending on the chord voicing:

小健翻译：

正格终止

• 正格（又称解决，标准，或完美）终止：5级-1级。 在根音七度以上通常创造一个 V⁷（五级属七和弦）。《哈佛简明音乐及音乐家词典》上说：“这种终止是整个声调系统的缩影，并且是建立主调音高最直接的方法。毫无疑问简直就是作曲工作的终级结构！”这个词‘完美终止’通常都用作‘正格终止’的同意词，但是有更细微的差别取决于和声。
  https://upload.wikimedia.org/wikipedia/commons/thumb/1/17/Beethoven_-_Piano_Sonata,_Op._13_perfect_authentic_cadence.png/220px-Beethoven_-_Piano_Sonata,_Op._13_perfect_authentic_cadence.pngcadence" />

  );">

  Beethoven – Piano Sonata, Op. 13 perfect authentic cadence.^[5] https://upload.wikimedia.org/wikipedia/commons/thumb/8/8a/Loudspeaker.svg/11px-Loudspeaker.svg.pngcadence" /> Play (help·info)
  • Perfect authentic cadence: The chords are in root position; that is, the roots of both chords are in the bass, and the tonic (the same pitch as root of the final chord) is in the highest voice of the final chord. A perfect cadence is a progression from V to I in major keys, and V to i in minor keys. This is generally the strongest type of cadence and often found at structurally defining moments.^[6] "This strong cadence achieves complete harmonic and melodic closure."^[7] It has to be noted that Beethoven in particular gets so much mileage out of this cadence as for it to become one of his most characteristic and recognizable musical thumbprints. The Diabelli Variations and the C major climax of the slow movement of the Opus 132 String Quartet - even though it is described as being in Lydian mode on F - are two powerful examples.
  • Imperfect authentic cadence (IAC), best divided into three separate categories:
    • );">
    • 1. Root position IAC: similar to a PAC, but the highest voice is not the tonic ("do" or the root of the tonic chord).
    • 2. Inverted IAC: similar to a PAC, but one or both chords is inverted.
    • 3. Leading tone IAC: the V chord is replaced with the vii^o/subV chord (but the cadence still ends on I).
  • Evaded cadence: V4
    2 to I6
    .^[8] Because the seventh must fall step wise, it forces the cadence to resolve to the less stable first inversion chord. Usually to achieve this a root position V changes to a V4
    2 right before resolution, thereby "evading" the cadence.

    基本配置法

    基本配置法即大小调编配方法。根据歌曲的开始、结尾，以及旋律的主要乐音，确定歌曲的调式后，分别以大、小调和弦为主进行编配。下面就以C大调和A小调为例，具体讲解大小调歌曲的编配以及和弦替代。

    1.大调歌曲编配方法

    当确定歌曲为大调后，以大调和弦为主进行和弦的配置。C大调的基本和弦为Ⅰ 级主和弦C，Ⅳ级下属和弦F，Ⅴ级属和弦G以及Ⅴ级属七和弦G7。

    首先为歌曲的开头和结尾配上主和弦C;在结尾的主和弦之前应配属和弦G，或属七和弦G7;在属七和弦之前应配下属和弦F，然后再为每个小节编配和弦。

    小节乐音明显倾向哪个和弦的，就编配上该和弦，若不明显则以重音或主要音为准编配和弦。

    由1、3、5组成的C和弦，色彩明朗，性质稳定，除用在歌曲的开头和结尾之外，还用来伴奏以1、3、5乐音为主的旋律小节。

    具有一定不稳定性的F和弦，组成音为4、6、1,是大调的下属和弦，色彩强烈。常用于歌曲的高潮、副歌部分，亦用来伴奏由4、6、1乐音为主构成的旋律小节。

    G和弦由5、7、2重叠而成，对主和弦具有支持作用，常用于段落乐句，伴奏以5、7、2乐音为主的旋律小节。

    性质极不稳定的G7和弦，由5、7、2、4组成，是不协和和弦。除伴奏以5、7、2、4为主的旋律小节外，具有倾向于主和弦C的强烈趋向，所以常用于全曲结束，或乐句结束的主和弦之前。

    当下属和弦F，接属七和弦G7，再至主和弦C的和弦进行用于全曲结尾时，叫做正格终止式。所以在歌曲结束时，这样的和弦进行，即C-F-G7-C,具有最完整的结束和声效果。（选自：吉他和弦配置随手查）

音频地址（或扫码）http://m.ximalaya.com/33083802/sound/13272129

 http://s4/mw690/006jtZtGgy70byBkKQ383&690cadence" TITLE="正格（完全）终止式Authentic cadence" />

编 小健