Vocalizing on chord sequences serves three very essential purposes in choral training: (I) offers a means of securing pitch accuracy and tonal blend by holding each chord and listening for effects before proceeding to the next chord; (z) trains each singer in the idiomatic voice leadings for his part (This experience develops an harmonic sense and the ability to improvise correct harmony for a melody.); and (3) serves as an introduction to the study of harmony, often called the “grammar of music.” A brief survey’ of the chords usable for this purpose will show the possibilities of this type of experience.

Chords may be defined as -a combination of tones sounding simultaneously and in harmonic relation.” Another definition is “any combination of tones that may be reduced to thirds.” Chords may be constructed on any tone of the scale. Primary, or basic, chords arc built on I (tonic), IV (sub-dominant), and V (dominant). Secondary chords are built on II (super-tonic), III (mediant), VI (sub-mediant), and VII (leading tone). In the main, in simple compositions such as hymns and chorales, the fundamental tone, or the root, of the primary chords (I, IV, V) appears in the bass. But this is not necessarily so, for inversions may also be used. That is, the third or the fifth of the triad may he used as the bass tone.

The word cadence refers to chords at the close of a musical section. There are several types in common use. The authentic cadence formed when the dominant chord is followed by the tonic; the plagal cadence, made by the succession of sub-dominant and tonic chords; the complete cadence, which consists of the sub-dominant, dominant, and tonic chords; the half-cadence where the tonic is followed by the dominant chord; the deceptive cadence where the dominant triad is followed by a chord other than the tonic (usually VI).
The strongest melodic ending of a cadence is 8-7-8, and is known as the perfect form of the authentic cadence. When the melodic pattern is 3-1-3 or 5-5 -5, the form is said to be imperfect.

In the authentic cadence, the dominant chord usually falls on the unaccented beat of the measure. When it falls on the accented heat, the cadence is said to have a feminine ending. The following are examples of the more common cadences. Choral directors should utilize sequences in compositions being studied for an extension of this type of training. As your teacher or a classmate plays these cadences, sing your assigned part with syllables. If four parts are available, sing them unaccompanied, holding each chord to secure balance of parts and perfect intonation before proceeding to the next chord. Practice cadences in hymns and folk songs in the same manner.