Lesson 5: Perfect Cadence Fingerprints

Prior Knowledge: Rules of chorale harmony, basic cadences, scales, chords (and their inversions) and keys.

Content of Lesson: This lesson will show you how you can create cadences and use approach chords in ways that were typical of the chorale style.

What is a Cadence “Fingerprint”?

In chorale harmony, there are several cadential progressions that make up the majority of cadences in this particular style. We refer to these as the fingerprints of chorale harmony, as they are used so often it is easy to identify where they slot in.

Each of the fingerprints covered in this lesson includes an approach chord. This is the chord that leads into the cadence chords, and different fingerprints will use different approach chords to create variety and interest.

The fingerprints require you to recognise certain melodic patterns in the soprano part, which will show you which cadences you can use. In order to ensure we do not get confused, the melodic patterns are referred to by their scale degree in standard numbering (for example 2-2-1 or 8-7-8). The chords as always will be in roman numerals (for example Ic – V – I). This way, we can understand how to use fingerprints and keep the numberings clear.

Important note: for each of the fingerprints, the bassline is the most important part as it defines the cadence. This should be written out first, followed by the inner parts which must follow all the rules of four-part harmony. If you’re unsure of the rules, visit Lesson 2 for a recap.

Ic – V – I

Our first fingerprint uses the chord progression Ic – V – I, which can be used when the melody falls in the pattern of 3-2-1 as in the example below:

Notice the key features of this progression:

Bass – the bassline holds the dominant note (in this case, E) for two beats, creating tension as it delays full resolution to the tonic.

Tenor – doubles the bass an octave higher, and then falls a third.

Alto – moves in thirds with the soprano and then falls a third with the tenor.

Soprano – holds the distinctive 3-2-1 melodic pattern.

This pattern remains the same for all Ic – V – I cadences, although on occasion you may want to swap the tenor and alto lines  or drop the first two bass notes an octave to solve gaps in the texture as below:

You can also then look to add decorations to this progression. One of the most common additions can be your passing 7^th but be sure to leave a gap of a 3^rd when the leading note falls in the middle parts (remember this is the Bach 3^rd):

This progression can also be used on an 8-7-8 melody. In the example below, notice the lack of passing 7^th, the straight E’s in the alto and the auxiliary note in the bass.

Extra tip: to flow into the Ic approach chord in a Ic – V – I cadence, you can use a iib chord as this allows an elegant, smooth movement.

ii⁷b – V – I

Suiting a 2-2-1 or an 8-7-8 melodic pattern, the ii⁷b – V – I is another common fingerprint.

Features of this cadence include a suspension, which requires preparation in the same part before the ii⁷b chord (see Lesson 10: Suspensions). The suspensions in the example above are marked – notice how they are always prepared on the previous beat.

Tips:

• You need an 8-8-7-8 pattern to properly prepare the suspension in the soprano. If you can’t do this, use another fingerprint instead.
• The 2-2-1 pattern will result in a suspension in the inner parts, which as always may be in either tenor or alto in order to ensure good note spacing.

V^4-3 – I Fingerprint

This fingerprint also includes a suspension, represented by the 4-3 numbers in the roman numeral analysis. Remember this needs preparation, so if you are using this pattern check Lesson 10: Suspensions to ensure you are using them correctly.

A V^4-3 – I fingerprint will fit either an 8-7-8 or a 2-2-1 melody pattern, much like the ii7b – V – I progression, and therefore the two should be alternated if the same melodic cadence pattern occurs multiple times. The strength of this cadence comes from the extension of a dominant bass note over two beats, while a suspension resolves over the top:

Perfect Cadence Practice Task

Complete nine cadences in total:

• 3 x Ic – V – I cadences
• 3 x ii⁷b – V – I cadences
• 3 x V^4-3 – I cadences

Ensure that the approach chords move smoothly, avoid parallel 5ths & octaves and use the fingerprints you have looked at in this lesson. Choose a variety of keys to test yourself as well as a variety of melodic patterns to harmonize.

Summary

You should now be able to:

1. Understand the meaning of the terms “fingerprints” and “approach chords”.
2. Harmonize perfect cadences using a range of fingerprints including Ic – V – I, ii⁷b – V – I and V^4-3 – I.
3. If you understand them completely, you should be able to spot them in a chorale. To test this, look at Bach’s own harmonies and look for the melodic patterns as well as the bass patterns.

When you can do this, you are ready to move on to Lesson 6: Imperfect Cadence Fingerprints.