[Music] Hey guys, welcome to piano lesson number 27. Today I'm going to be talking about cadences. Now, uh, what is a cadence? Well, a cadence is, think of music as a sentence. And a cadence is a punctuation. It's a it's a period. It's an exclamation. It's a question. Cadences usually end a phrase uh like a group of notes and they end they kind of give you a final statement or a thought. Now there's different types of cadences just like there's different types of punctuation. There's exclamation marks and periods and question marks. So there's also different types of uh you could say different types of uh cadences as well. Now they all have different names. You can probably see them behind me. And uh we're going to get into that. We're going to get into what the names are, what they are, and then I'm going to show you on the piano or after what they look like, so you guys can get an idea what they what they're all about. Okay. So, all right, let's get started. The first types of cadences that we're going to look at is called a perfect cadence. Now, a perfect cadence is um it has the quality that makes it sound finished. It's the perfect way to end, I guess, as they would want to call it. Uh it consists of going from a five chord to a one chord. Now, I have a seven here in brackets because you can also do a five seven. Okay? So, that's another option here. So, uh, we either go with a five or five seven to one. Now, what this does is it creates a D. Well, I'll just play it. It sounds like this. That's a five, seven to one. And this is a 5 to one. Okay. Now, those are two different ways to play them. And there's so many different ways that you can arrange them for voice leading to make it sound slightly different, but that's the basic idea. Now, think of um a perfect cadence as a say, okay, say there's a table and then you see on the table a donut that you really want chocolate sprinkles. Well, technically I like Boston creams, ones with like nice creamy filling. So, say we're there and we're just like and then we're like and we go up to grab the donut and then we're about to grab it. And then when we do grab it, that's like our perfect cadence. Sort of like this. So, it's just like, yay, donut. Donuts are good. Kind of like that. So, you're liking the donut or you've achieved your goal. Okay. And this is all it really is. That's it's going from a leading tone to the tonic. And that's all this is doing. It's just more filled up. Or it be like [Music] Okay. So that's what a perfect cadence does is it's like success, victory, whatever. Um, now let's look at plagal cadences. Plagal cadences have a more lovely sound to them. They sort of remind me of a church. And this is what they sound like here. Or like this. Whoops. What am I doing? Yeah, I was looking down and I kept trying to play the wrong notes and I'm kind of like going like that. So, yeah, I don't know how to play at least right now. Okay, so plagle cadence goes from a four chord to a one chord now. Um, they are almost used in the same way that a perfect cadence is used. You you can use them to end a piece or end a statement in a good sounding way. So they're um they're used in the same sort of way except um a plaggo one isn't quite a plagal cadence isn't quite as accepted for it's uh like the true way to really really end something is with a perfect cadence. That's sort of the idea here. The plego one is like an alternative way to make it sound good and be a little bit different but not be the authentic boom fist down. I've got a donut in my mouth. Yay for me kind of a thing. Okay, so playal and perfect. The perfect is a little bit higher priority. I guess you could say it's the favorite child. Okay. Anyway, so those are the two there. Now, imperfect. What does an imperfect do? It leaves you um it's like the opposite of perfect. What it does is it makes the piece go on or um it'll like propel the piece forward. Okay. So here we go. An imperfect cadence. Instead of going from five to one, it goes from one to five. So the five sort of unbalances everything and makes you want to keep going. So uh here's what it sounds like. Oh, sorry. I started with Why can't I play my cadences right now? I don't know what's going on with me. Like that's one way to play it. Or you could play like this. like that. So, see how it makes you want to keep going or whatever. I can't sing. Why do I even try? Okay. So, imperfect cadences propel the song forward more. It's like um it's not a question, so to say. Well, it could be a question. Imperfect cadence could be a question mark and these could be you know exclamation marks or whatot or no those could be periods now deceptive. What could that be? Now deceptives are really cool actually. So I like them. I like using them when I want to build like drama or whatever and I just want to keep going on sort of to tease my audience. Although I'm not like a great great composer or anything but whatever. I think they're cool. So, a deceptive cadence makes you feel like you're going to the one. So, it makes you feel like it's about to finish and then, oh, maybe not. So, it' be the equivalent of seeing that donut on the table and being a donut. And then you're like, and you're about to grab it and then So, let's see. It goes like that. And then you're like, and then you get slapped by your mother. You can't have the donut. No. I'm so sad. [Music] Oh, sad sad day. So that's what a deceptive cadence is like. So this is what it sounds like. You could be all, you know, I bet you wanted to hear, right? Not this. So that's like what happened. That's the whole idea with the deceptive cadence. It sort of prolongs makes it renews it. It's just it's like a twist sort of like a murder plot, you know, like don who killed was it that was it Mr. Mustard? Was it Colonel Mustard with the rope in the billard hall? You know, game of uh what is that called now? Is it called Clue? I think it's Clue, man. I can't remember now. Had to be in a long time. Scarlet and I that was a fun game. I used to play it all the time with my friends and like their parents or whatever. It was lots of fun. Anyway, back to the topic. So, these are your basic types of cadences. Now, there are other uh these are what they're called, but then there's uh another thing that goes on to it. And I guess I'll write that out and explain it. All right. So, I've drawn a little bit, but obviously I didn't draw that much. Okay. The two things I drew were there's two types of cadences. There's an open cadence or a closed cadence. Now, it's much easier to define what an open is by just defining what a close is because there's very few closed cadences. Now, a closed cadence means a closed cadence has to be in has to be a perfect cadence and it has to be with the key of the piece. So, if your piece is written in C major and you write and you do a perfect cadence at the end of the piece or well, it doesn't really matter where. If you do it anywhere, it's a closed cadence if it's 5 to one. Now, if you do it anywhere else, that means if you do a 5 to one, but it's not in the key. So, say you we're writing everything in C major and then you did an a like an A minor 5 to one perfect cadence, that's an open cadence. Now, another thing is that with the closed cadence, the C has to be on the top and the bottom. Like say you're in C major and you're going 5 to one, right? The C has to be on the top. Sometimes people write an E at the top. And when you do that, you're actually leaving the cadence open. So listen to the difference. This is a a clo an open cadence right here. Sorry. And then something like that. Okay. Now, here's an closed one. There's my C. Now, here's the open one again. I have my E up there. So, when we have the E up there, it leaves an open sounding like it's open to keep going. But when you have that C on the top and at the bottom, it's kind of like closing the box on both sides and then going like, nuh-uh, you're not getting out. Okay, that's pretty much what a closed cadence does. Every other cadence is an open cadence, basically. So, there you go. Now, I also put these on the side. These aren't really my uh the law or anything like that. This is sort of my own interpretation. A perfect cadence is pretty much like a period. A plagal cadence is like a period. Um or could be like a comma even. Could be a comma. I'm not sure. I'm just kind of going with this if you want some extra whatever. And an imperfect cadence is a lot like a question. And a deceptive cadence is a lot like a like something exclamatory like like you weren't expecting it like like you know it could be even like a question mark and an exclamation mark like did you really kill that person or whatever right? So that that's pretty much what uh all the cadences are. So now I'm going to try to show you them on the piano. So let's go to the piano. All right. So, I only have one hand here. So, I'm going to show you pretty much the idea of what these things would look like without the whole two hands thing going on. All right. So, the first one is the perfect cadence. So, it's going from a five to a one in the bass in the bass club. That's all it's doing. That's it. That's all you do. Now, what you'll do is you'll do probably this. You'll do the B, the D, and the G like that. Now, see how smooth the voice leading is this way? They're right beside each other. And the voices are This one's these two are moving up. This one stays in common. And this one moves down. So, it's really good voice leading. There's my playing two hands with one hand. Okay. So, that's a perfect cadence. the different ways you can do it. I mean, you can do like this and then you could Well, you don't have to do that. I mean, you could do this. That's a perfect cadence. So, my keys are B, D, G, B, and then every then the C, the E, the G, and the C. Just like that. Tada. Okay. So, there's that. That's a perfect cadence. Now, an open perfect would be with the E on the top. So, it'd be like or you could even do this. That's an open. That's from G like that. Now, I'm just doing this in C major so it's easy. So I'm not doing, you know, stuff like so I'm not getting all wonky with different keys and whatnot. But yeah, so that's just keeping it simple. And then you can just change it into whatever key you're in. If you know how to do that, so I assume that if you know how to do that, then you're all good. Okay, so that's a perfect. Now a plagle is just going from F to C or four to one. So, all right. So, how that works is, uh, here's one of the possible voice leadings. You can use the C, the F, and the A like this, and then go like this. Or you could just do this. Now, the other thing you could do is you could do this and then go out. That's one possibility. So you have the A, the C, the F, and then these two go out like that. Now, I probably wouldn't recommend that one because you then you're doubling the fifth, but it's always another option. Right now, another possibility is you could have this like that. So an F chord just like that. Okay, so those are some options. Okay, now moving right along to imperfect. You just back do a reverse of whatever the, you know, the perfect cadence was. So you could do this, right? Or you can do what? Like this. See? Cool, huh? Uh, so any of the ones that I did perfect, you can just reverse those. Oh, yeah. And then there's the five seven. I forgot to do that. So there's perfect. So a five seven is just putting the Fs there. Just like that. Whoops. Or then you can do like that gives you a nice closed sound. So you've got thumb trying to get my fingers all the way so you can see here. An F with a G, A, a B, and a D. and then moving those down. Kind of nice, huh? Okay, so that's another possibility. Now, um the last one is deceptive. So that's taking a G chord or the five, the dominant of whatever key you're in, and then going up. You can go straight up. I mean, technically that's not the best voice leading. So, you might want something contrary like doing something different in the the bass like maybe going but yeah, or you can have something like maybe like this. That's not going to work that well. You can do this. That's possible, but it doesn't sound the greatest. I mean, this does give you that kind of Pretty cool sound there. So, that's one possibility. Um, that's another one. Then again, you've got every voice going up, so that might not be the best. Um, [Music] now what could what else could we do? I think that's about it. I mean, unless you added unless you made this like a ninth chord, you know, like that. That'd be kind of interesting, right? Well, anyway, there's a whole bunch of different ways you can do it, but that's basically it. It's like five to six for deceptive. I usually just do this just because it's easy and it gives you the whole going up like uh kind of thing. So yeah, anyway, so that's about it watching this lesson on cadences. I hope you guys uh found the information useful and helpful and hopefully enjoyed my banter or whatever you want to call it, my antics, my shenanigans. Okay. Anyway, so I'll I'll talk to you guys later and uh yeah, use these new tools to your disposal and composing or diagnosing what's happening in the music or understanding what's uh what's happening uh when you listen to something when you go oh that was a perfect cadence or oh there there's a deceptive cadence right it kind of en enhances your your whole music listening experience okay well uh take care guys see you later bye-bye