Cadences: Bach chorales

Every phrase of a chorale ends at a pause, and every pause needs a cadence. Plan them first: they fix the key and the shape of the whole harmonisation.

The four cadences

Perfect: V(7) to I

The most common cadence, and always the one at the end. Both chords are in root position.

CorrectV7 to I: B(S) rises to C and the 7th, F(A), falls to E

Imperfect: any chord to V

Common at the ends of inner phrases. The V is in root position.

CorrectIV to V, with the bass rising against the falling soprano

Plagal: IV to I

Rare in Bach.

CorrectIV to I, with C held in the soprano

Interrupted: V to vi

Occasional, usually in the middle of a chorale. The leading note rises to the tonic, so the 3rd of vi is doubled.

CorrectV to vi: B(A) rises to C, so C, the 3rd of vi, is doubled

Rules for cadence chords

Both chords of a perfect or imperfect cadence are in root position.
The chord of the cadence must match the key in force at that point. If the melody has a chromatic note near the pause, the cadence is probably in a new key.

Good ways to approach a cadence

ii6/5 to V(7) to I. The 7th of ii7 is prepared and falls to the leading note.

Correctii6/5 to V to I: C(S) is prepared, held into ii6/5, then falls to B

Ic to V to I. Ic (the cadential 6/4) goes on the strong beat, with the bass doubled.

CorrectIc to V to I: the bass G is doubled in Ic, and E and C over it fall to D and B

IV or ii6 to V.

Correctii6 to V to I: the bass rises F, G, then falls to C

A 4-3 suspension over V. See the lesson on decoration for how it works.

Correct4-3 over V: C(T) is held from IV into V, then falls to B

Common mistakes

An inverted chord at a perfect or imperfect cadence. It sounds unfinished.

MistakeWeak cadence: I in first inversion, with E in the bass, does not sound final

A retrogression at the cadence, such as V to IV.

Labelling the cadence in the home key when the music has modulated. A cadence onto G in C major with F# present is G: V to I, not C: V. See the lesson on modulation.