1
00:00:05,550 --> 00:00:10,526
In week four we heard about certain
cadences, we heard about perfect cadences,

2
00:00:10,526 --> 00:00:14,342
which occur at the end of a piece,
and which sound very final.

3
00:00:14,342 --> 00:00:18,159
[MUSIC]

4
00:00:18,159 --> 00:00:21,237
And we also heard about
imperfect cadences,

5
00:00:21,237 --> 00:00:26,178
sometimes called half cadences which
are a temporary stopping point for

6
00:00:26,178 --> 00:00:30,190
the music,
before the music moves on somewhere else.

7
00:00:30,190 --> 00:00:35,218
For example, if we're a key of D major, we
might hear a passage something like this.

8
00:00:35,218 --> 00:00:40,895
[MUSIC]

9
00:00:40,895 --> 00:00:43,870
Which obviously is not the end of a piece.

10
00:00:43,870 --> 00:00:46,380
Ending there with an imperfect cadence.

11
00:00:46,380 --> 00:00:50,270
But there are two other important
cadences to be considered.

12
00:00:50,270 --> 00:00:54,440
First of all is the one we call
interrupted or sometimes called deceptive.

13
00:00:55,480 --> 00:00:59,639
Now, if we recall our Ic-V-I cadence.

14
00:00:59,639 --> 00:01:02,985
[MUSIC]

15
00:01:02,985 --> 00:01:04,762
But change just one chord.

16
00:01:04,762 --> 00:01:07,741
If we change the final chord to chord six,

17
00:01:07,741 --> 00:01:11,161
which is the submediant,
it sounds like this.

18
00:01:11,161 --> 00:01:15,573
[MUSIC].

19
00:01:15,573 --> 00:01:16,609
So, very different.

20
00:01:16,609 --> 00:01:18,153
Let's compare again.

21
00:01:18,153 --> 00:01:26,230
[MUSIC]

22
00:01:26,230 --> 00:01:29,728
And I think you'll agree that
both the words interrupted and

23
00:01:29,728 --> 00:01:32,850
deceptive describe
the effect here very well.

24
00:01:32,850 --> 00:01:35,140
The music obviously must continue.

25
00:01:36,290 --> 00:01:37,960
I'll play you another example.

26
00:01:37,960 --> 00:01:42,080
That one was in D major, but
let's have one in G minor.

27
00:01:42,080 --> 00:01:44,545
Here's a ic-V-i in G minor.

28
00:01:44,545 --> 00:01:48,265
[MUSIC]

29
00:01:48,265 --> 00:01:50,936
And here's an interruptive
cadence in G minor.

30
00:01:50,936 --> 00:01:55,318
[MUSIC]

31
00:01:55,318 --> 00:02:00,899
Moving to chord 6, where the music
demands it, that it continues.

32
00:02:05,510 --> 00:02:10,110
The other cadence we need to know about is
called the Plagal Cadence sometimes called

33
00:02:10,110 --> 00:02:11,330
a Hymn or

34
00:02:11,330 --> 00:02:17,539
Church Cadence because it's the one you
often hear in a amen at the end of a hymn.

35
00:02:17,539 --> 00:02:23,430
And it's chord four to chord one.

36
00:02:23,430 --> 00:02:27,410
The sub dominant to
the tonic in F major here.

37
00:02:29,170 --> 00:02:33,330
This is a cadence that was used a great
deal in church music in medieval and

38
00:02:33,330 --> 00:02:38,690
renaissance period but subsequently
too and interestingly we find it

39
00:02:38,690 --> 00:02:44,230
pops up quite often in newer
music in blues and rock and pop.

40
00:02:44,230 --> 00:02:48,910
And, a number of examples can
be found in Beatles songs.

41
00:02:48,910 --> 00:02:52,081
For example,
With a Little Help from My Friends,

42
00:02:52,081 --> 00:02:54,202
the last three chords of which are

43
00:02:54,202 --> 00:02:58,603
[MUSIC].

44
00:02:58,603 --> 00:03:01,269
The last two of these making
up the plagal cadence.

45
00:03:01,269 --> 00:03:01,770
[MUSIC]

46
00:03:01,770 --> 00:03:03,351
Four one.

47
00:03:03,351 --> 00:03:12,202
[MUSIC]

48
00:03:12,202 --> 00:03:15,681
And interestingly here,
there's an extra flavor added because of

49
00:03:15,681 --> 00:03:18,490
the mortal influence of
the third last chord.

50
00:03:18,490 --> 00:03:24,310
The third last chord is based
on the flattened leading note.

51
00:03:24,310 --> 00:03:26,364
Here is a scale of E-major.

52
00:03:26,364 --> 00:03:29,355
[MUSIC]

53
00:03:29,355 --> 00:03:36,710
Leading note,
this time with the flattened leading note.

54
00:03:38,110 --> 00:03:41,090
Which gives us what we
call the Mixolydian mode.

55
00:03:41,090 --> 00:03:42,788
And if you base a chord on that D,

56
00:03:42,788 --> 00:03:46,708
[MUSIC]

57
00:03:46,708 --> 00:03:49,185
It gives you the third
last chord of that song.

58
00:03:49,185 --> 00:03:52,591
[MUSIC]

59
00:03:52,591 --> 00:03:58,266
And interestingly it's
also used in 'Hey Jude'.

60
00:03:58,266 --> 00:04:06,631
Here's the final chords of 'Hey Jude".
[MUSIC]

61
00:04:06,631 --> 00:04:12,309
With the Plagal Cadence says the last two,
and the Mixolydian chord, the third last.

62
00:04:12,309 --> 00:04:22,309
[MUSIC]