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><\/div>\n
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><\/div>\n
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><\/div>\n
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><\/div>\n
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><\/div>\n
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><\/div>\n
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><\/div>\n
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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incomplete neighbor <\/p>\n<\/p><\/div>\n
a general type of embellishment that is so named because it features stepwise motion on one side of the dissonance and a leap on the other. Two incomplete neighbor types are the appoggiatura and the escape tone. <\/p>\n<\/div>\n <\/div>\n <\/button>\n <\/div>\n\n \n \n
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appoggiatura <\/p>\n<\/p><\/div>\n
a very expressive dissonance that is preceded by leap\u2014typically an ascending leap\u2014and followed by step in the opposite direction.<\/p>\n<\/div>\n <\/div>\n <\/button>\n <\/div>\n\n \n \n
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escape tone <\/p>\n<\/p><\/div>\n
an incomplete neighbor embellishment that is preceded by step and left by leap in the opposite direction into a chord tone.<\/p>\n<\/div>\n <\/div>\n <\/button>\n <\/div>\n\n \n \n