Using the given soprano notes, how can I plot the tonal journey that will start and end in G minor. This exercise wants me to use middle two cadences to move to a related chord and have one authentic cadence, one half cadence, and one deceptive cadence.

So, my question are:

1. What is the difference between the three cadences?
2. How would I do this exercise? I was wondering if we go through the first measure.
• Such cadences are straightforward and a simple internet search should clarify all that you need to know. The first step is always trying things out in your "mind's ear", to see what ideas you can conjure about how to organize the harmony. From there it is usually easiest to start by writing the bass, then filling in the inner voices being careful not break any rules of counterpoint. Jun 25, 2014 at 4:42

In minor the cadences are defined the following way:

```Half: Any -> V(7)
Authentic: V(7) -> i
Deceptive: V(7)-> VI
```

The 7th in the V chord is optional. If you know you are in the key of G minor then building the chords shouldn't be a problem.

This exercise seems it want you to understand what a cadence is and what a related chord(i.e. chords that have a common tone) is and practice voice leading. Take advantage of the double bar lines. Each double bar line will allow you to build the current chord independent of the previous chord. I'm not going to tell you where each cadence goes, but I will say you will need to use one cadence twice and you should end on the tonic chord if you want a convincing G minor ending.

Remember that iif you do the dominant with its seventh added that the seventh has to resolve. Also like always the leading tone has to resolve in the voice it appears. In g minor this means the F# has to resolve to the G.

If the Cadence is at the end of the peace we would like to end on tonic chord and we would keep both the chords in root position as to give a complete sense of finality.