short for imperfect authentic cadence, a cadence that includes harmonic motion from the dominant to the tonic, but is less conclusive than a PAC. The IAC may feature one or both of the harmonies in inversion, or, more commonly, may have scale degree three or five in the soprano upon the arrival to the final tonic.<\/p>\n<\/div>\n <\/div>\n <\/button>\n <\/div>\n\n \n \n
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harmonic rhythm <\/p>\n<\/p>\n
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the rate of harmonic change per unit of musical time.<\/p>\n<\/div>\n <\/div>\n <\/button>\n <\/div>\n\n \n \n
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half cadence <\/p>\n<\/p>\n
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a cadence characterized by resting on the dominant triad at the end of a phrase.<\/p>\n<\/div>\n <\/div>\n <\/button>\n <\/div>\n\n \n \n
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Phrygian half cadence <\/p>\n<\/p>\n
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or Phrygian cadence, a cadence that features descending half step motion from the minor submediant to the dominant in the bass and harmonic progression from a first inversion iv chord to a root position V triad. <\/p>\n<\/div>\n <\/div>\n <\/button>\n <\/div>\n\n \n \n
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deceptive cadence <\/p>\n<\/p>\n
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a cadence that involves a harmonic move from V to vi (or VI in minor keys) at the end of a phrase, wherein the submediant chord serves as a tonic substitute.<\/p>\n<\/div>\n <\/div>\n <\/button>\n <\/div>\n\n \n \n
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deceptive resolution <\/p>\n<\/p>\n
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harmonic motion from V to vi (or VI in minor keys), wherein the submediant chord serves as a tonic substitute (but not at the very end of a phrase).<\/p>\n<\/div>\n <\/div>\n <\/button>\n <\/div>\n\n \n \n
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plagal cadence\/plagal motion <\/p>\n<\/p>\n
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harmonic motion from the subdominant to the tonic, such as in the traditional plagal \u201cAmen\u201d cadence (I\u2013IV\u2013I).<\/p>\n<\/div>\n <\/div>\n <\/button>\n <\/div>\n\n \n \n
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accented passing tone <\/p>\n<\/p>\n
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an embellishment that is approached and left by step in the same direction and takes place in an accented metrical position.<\/p>\n<\/div>\n <\/div>\n <\/button>\n <\/div>\n\n \n \n
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