Not a big fan of the perfect and imperfect labels, love the videos btw. I tend to use authentic and half, and split the authentic into perfect and imperfect. Since having tonic in both top most and bass voices and going from a root position V chord makes the perfect authentic more restful. But having anything but that makes it sound various degrees of less restful, thus imperfectly authentic.
In the key of C, the perfect cadence is Gmaj to Cmaj. The imperfect cadence is its inverse, Cmaj to Gmaj - which could also be heard as a plagal cadence in G. Am I getting this right - and is there any special significance to these relationships?
Where is the tension and the resolution in the plagal cadence ? Is it between the fundamental of the IVth and the third of the I ? Between the F and the E in major C ?
The analogy of full stops and commas is brilliant. Explained it in seconds.
This is the best video I've seen on this topic...keep on doing what you're doing!
Incredible
another incredible Brilliant video!!! So concise so WOW and such effective and fascinating insights...
Thanks bro. Very educational
Awesome-I’m glad it helps. 🤘
Agreed.
This helped a lot clarifying my confusion on the subject. Thank you so much!
Awesome video! Underrated for real
Thanks!
Not a big fan of the perfect and imperfect labels, love the videos btw. I tend to use authentic and half, and split the authentic into perfect and imperfect. Since having tonic in both top most and bass voices and going from a root position V chord makes the perfect authentic more restful. But having anything but that makes it sound various degrees of less restful, thus imperfectly authentic.
Cool. Yes, the labels used might be imperfect. :)
Very good video. I wish I had learned about cadences before I learned about chord inversions.
Will you be making a video about some uncommon cadences?
I can definitely talk more about cadences and how they propel the music forward. 🤘
Thank you!!!!!
In the key of C, the perfect cadence is Gmaj to Cmaj. The imperfect cadence is its inverse, Cmaj to Gmaj - which could also be heard as a plagal cadence in G. Am I getting this right - and is there any special significance to these relationships?
Where is the tension and the resolution in the plagal cadence ? Is it between the fundamental of the IVth and the third of the I ? Between the F and the E in major C ?
In C ionian, what makes E to G a minor third?
The video "Chord Theory Explained" talks more about the intervals within a given key, and the labels/spacing between notes.
@@mikegeorge360 Thank you.