Editing Cadence (section)

====Imperfect authentic cadence====

There are three types of imperfect authentic cadences (IAC):<ref name="K&P 246">{{Cite book|title=Tonal Harmony|last1=Kostka|first1=Stefan|author1-link=Stefan Kostka|last2=Payne|first2=Dorothy|date=2004|publisher=McGraw-Hill|isbn=0072852607|edition=5th|location=Boston|pages=148–149|oclc=51613969}}</ref>

*''Root position IAC'' (shown below): Similar to a perfect authentic cadence, but the highest voice is not the tonic.
{{block indent|<score sound="1">
   \new PianoStaff <<
      \new Staff <<
         \new Voice \relative c'' {
             \stemUp \clef treble \key c \major \time 4/4
             d1 e
             }
         \new Voice \relative c'' {
             \stemDown
              g1 g
              }
            >>
     \new Staff <<
         \new Voice \relative c' {
             \stemUp \clef bass \key c \major \time 4/4
             b1 c
             }
         \new Voice \relative c' {
             \stemDown
             g1 c, \bar "||"
             }
         >>
    >>
</score>}}
*''Inverted IAC'': Similar to a perfect authentic cadence, but one or both chords are [[Inverted chord|inverted]].
*''[[Leading-tone]] IAC'': The penultimate (V) chord is replaced with a chord based on the leading-tone (vii<sup>o</sup> chord).

=====Evaded cadence=====

An evaded cadence (a subtype of the inverted IAC) moves from a dominant seventh [[third inversion]] chord (V{{su|b=2|p=4}}) to a [[first inversion]] tonic chord (I{{su|p=6}}).<ref>Darcy and Hepokoski (2006). ''Elements of Sonata Theory: Norms, Types, and Deformations in the Late-Eighteenth-Century Sonata'', p.. {{ISBN|0-19-514640-9}}. "the unexpected motion of a cadential dominant chord to a I<sup>6</sup> (instead of the typically cadential I)"</ref> Because the seventh of the dominant chord must fall stepwise to the third of the tonic chord, it forces the cadence to resolve to the less stable first inversion chord. To achieve this, a root position V usually changes to a V{{su|b=2|p=4}} right before resolution, thereby "evading" the root-position I chord that would usually follow a root-position V. (See also [[#Inverted cadence|inverted cadence]] below.)

{{block indent|<score sound="1">
   \new PianoStaff <<
      \new Staff <<
         \new Voice \relative c'' {
             \stemUp \clef treble \key c \major \time 4/4
             b1 c1
             }
         \new Voice \relative c'' {
             \stemDown
              g1 g1
              }
            >>
     \new Staff <<
         \new Voice \relative c' {
             \stemUp \clef bass \key c \major \time 4/4
             d1 c1
             }
         \new Voice \relative c' {
             \stemDown
             g2 f e1 \bar "||"
             }
         >>
    >>
</score>}}