Cadence Identification (Ear Training Authentic (PAC, IAC), Half, Plagal, Deceptive Cadences) | Set 1

[@ClassicalSqueak]

New to chords and Roman numeral analysis? • (3m) What are these numbers? 6, 6/4, 7, 6/5, 4/3, 4/2: kzbin.info/www/bejne/f6DOpn2oeqiigZo • (15m) Chords (Triads, V7, vii°7), Inversions, and Roman Numeral Analysis Basics: kzbin.info/www/bejne/d4XUYqmfn6x5qKs • Lecture notes (20 page PDF with notes, exercises, answers): ko-fi.com/s/d0af0ca869 Playlists: • Chord Progression Playlist: kzbin.info/aero/PLBjX9Vsck-AD1U3fAsRHhFEVBfNiZW6zO • Practice Guides to Music Making: kzbin.info/aero/PLBjX9Vsck-ADmPruyz1mjfe7LHefKp_et • There are more playlists available for easier navigation by level or subject Other ways to support this channel: • Listen to my recordings (available to buy or stream): www.ylanchu.com/albums • Ko-fi Shop: ko-fi.com/classicalsqueak/shop More links and information in the description. Hope you have a lovely day! :)

[@lawrencetaylor4101]

Merci beaucoup, these really are the best videos on ear training. I've subbed to your channel, and I've watched your videos numerous times. My ear is getting better, still a long way to go. I've only recently started practicing cadences, especially the minors. Thanks for being such an inspiration.

[@ClassicalSqueak]

Thanks for your message - I am glad that the videos are useful and that your ear is getting better. It seems like you are making great progress with the consistent practice :) Also, thank you for subscribing; it definitely helps!

[@mr88cet]

Thanks! Way back in the late-80s I took the usual freshman and sophomore Theory and Ear-Training curriculum. After getting bogged down in work for a few decades, I’m working to get my ears back into shape! So this is great stuff! These cadences I pretty Much have nailed, but this is great review. It’s wild to hear the Authentic with V rather than V7!

[@ClassicalSqueak]

Oh wow, that's awesome! Wishing you all the best in your ear training journey! And thank you for watching :) Yes, the terminology definitely differs from program to program/school. (When I first learned, Perfect cadences were any form of V to I, Imperfect cadences anything going to V, etc. I guess it depends on which method/label(s) you prefer to use, but as long as you can hear it all, then that's good!)

[@mr88cet]

@@ClassicalSqueak, you have some great exercises for me to “chew on” while I’m doing my morning exercises, so I really appreciate that! Thanks, and well done! As I first started whipping my ears back into shape, I was aghast to hear myself confusing ii, iii, and vi chords. Even more embarrassingly confusing M6 vs. m6 intervals, as well as (dare I admit?) P4s for P5s! I rarely make those mistakes now, but I confess I still confuse M7s vs. m9s. My how the mighty have fallen!

[@mr88cet]

Not super-important, but just a thought: Coming from an orchestral-instrument (and classical guitar) background, I’m finding that the piano timbre sometimes .. tints, or maybe even obscures … the sonorities of the chord qualities and cadences built from them. No worries though; I realize that this channel is poised mostly from the pianists’ perspective, and that’s fine.

[@ClassicalSqueak]

You are absolutely correct in your observation - I do find that it can blend together (especially as an acoustic instrument + overtones/recording process/environment, etc.) Unfortunately, through almost the entirety of my studies, all of the tests and examples from the solfège/dictation/aural skills classes I took were presented on an acoustic piano. In order to train my students who are auditioning for or already in university programs, I currently play the examples on my grand piano to prepare them for that format rather than using MIDI or virtual instruments. (I am also a pianist, so you are right in that this is from a pianist's perspective, haha.) I have a few videos up listed as "Chord Progressions with Melodies" to give some variation to chord recognition rather than strictly block/solid chords. I do take video requests into consideration, though it takes me a while to get to them since I create videos during my off-hours and prioritize what my students currently need (this is why the upload topic order might seem random as well), but please feel free to leave a comment if something might be helpful. My apologies for the long-winded response. Thank you for taking the time to write and for your feedback!

[@mr88cet]

@@ClassicalSqueak, sure, that’s reasonable. Just a thought…

[@nilukabandara9076]

excellent work

[@ClassicalSqueak]

Thank you!

[@honspoom8079]

Very helpful series! I was just wondering how one is able to determine that the second question in set 1.2 is a half cadence as opposed to a plagal cadence since C major is the subdominant in G major and no F natural is featured in the excerpt.

[@ClassicalSqueak]

Hi there! Good question. There is a tonic reference chord at the beginning of each set to show what key we are working with (Sets 1.1-1.3 are in the key of C major and 1.4-1.6 are in the key of C minor). Without this reference as the tonic chord or any further context, you are correct that it could be a plagal cadence in G major or half cadence in C major. Thanks!

[@user-xb1pc3ym5u]

Thanks very much for the lesson. Help me know which voice determines the cadence of the four: Soprano,alto tenor or bass?

[@ClassicalSqueak]

Hi there! If you are less familiar with SATB and its use for these kinds of exercises, I would suggest this video: kzbin.info/www/bejne/d4XUYqmfn6x5qKs

[@thexya5]

how can you aurally tell the difference between IAC and PAC? i'm having difficult distinguishing them 🥲

[@ClassicalSqueak]

Hi there! Just letting you know I have seen your message and I will get back to you (might be a little while yet), but I do want to reply to your question properly. Thanks for writing!

[@ClassicalSqueak]

Well, this clearly took longer than I anticipated, but there is a video to answer this now: kzbin.info/www/bejne/hKese2ZsaLOLfq8