26 Cadences

Types of Cadences

There are four main types of harmonic cadences that we will explore in this chapter:

• Authentic (dominant function to tonic triad)
• Half (cadence that ends on the dominant chord)
• Plagal (subdominant chord to tonic chord)
• Deceptive (dominant function to non-tonic triad)

These cadences are characterized by their harmonic structure.

Authentic Cadence

An authentic cadence sounds like a clear ending. Authentic cadences are often used at the end of a musical section, or at the end of a piece. There are two kinds of authentic cadences: the perfect authentic cadence (PAC), and the imperfect authentic cadence (IAC). The perfect authentic cadence is considered the strongest type of harmonic cadence.

Perfect Authentic Cadences

Perfect authentic cadences are formed when both conditions are met:

• The dominant chord in root position (V or V⁷) is followed by a tonic chord in root position (I or i)
• The highest pitch over the tonic triad is scale degree (“do” in Major keys, “la” in minor keys)
• Patterns: V-I, V⁷-I, V-i, V⁷-i

The example below shows what a PAC might look and sound like.

Example 1: Perfect Authentic Cadence.

Example 2 shows two phrases. The first phrase ends in m. 4 with a half cadence (HC) that sounds unfinished. The second phrase begins in m. 5 and ends in m. 8 with an authentic cadence that sounds final.

Example 2. Two cadences in Joseph Boulogne, Chevalier de Saint-George’s “Ballet No. 6” from L’amant anonyme, Act II (0:00–0:07).^[1]

Imperfect Authentic Cadences

Imperfect authentic cadences differ from perfect authentic cadences in one or more of the following ways:

• One or both of the chords are inverted.
• The vii°, vii7° or vii7^ø chord is used instead of a V or V^7.
• A chord tone other than is the highest sounding pitch over the tonic triad (for example, the third or fifth of the tonic triad).
• Pattern examples: V⁶-I, vii°-I, V-I⁶

Example 3 provides a variety of ways that imperfect authentic cadences may present.

Example 3. Imperfect Authentic Cadences.

Example 4 shows an IAC in a musical context.

Example 4. An imperfect authentic cadence (IAC) in Fanny Hensel, “Ferne” Op. 9, No. 2 (0:00–0:14).^[2]

Half Cadence

Half cadences (or HC) feel inconclusive or unfinished. Half cadences can begin with a variety of chords, but must end on the dominant (V or V⁷⁾. Example 5 is an example of a half cadence.

Example 5. Half cadence.

Examples 6 and 7 demonstrate the half cadence in musical context.

Plagal cadences (or PC) are also used to end phrases, but are not quite as strong as authentic cadences as no dominant function chord is there to prepare the listener for the tonic. This cadence  is sometimes referred to as the “Amen” cadence because it is heard at the end of some Christian hymns that close on the word “Amen”.

• Pattern: IV-I or iv-i

Example 8. A typical plagal cadence.

Example 9 below demonstrates the sound of a plagal cadence in Handel’s Hallelujah chorus from Messiah.

Example 9. Georg Friedrich Handel. Hallelujah,  chorus from Messiah, mm.

Deceptive Cadence

Deceptive cadences (or DC) are called “deceptive” because they prepare the listener to expect an authentic cadence, only to end with a chord other than tonic, usually the vi (in Major keys) or VI chord (in minor keys). They work because they begin with the dominant (V or V⁷) which is typically the first chord in an authentic cadence. Deceptive cadences signal the end of a phrase, but do not have the finality of authentic and plagal cadences.

• Common deceptive cadence patterns: V-vi, V-VI, V⁷-vi, V⁷-VI

Example 10. Deceptive cadences

The following examples both include deceptive cadences:

In each of the examples above, the deceptive cadence is soon followed by a conclusive PAC. The deceptive cadence sets up an expectation, the fulfillment of which is delayed until the PAC provides the implied tonic harmony. The effect is a provocative stretching out of the gesture which for many listeners makes the eventual conclusion all the more satisfying.^[3]

Rhythmic Cadences

Along with specific harmonic progressions, phrase endings can sometimes be signaled by a change in rhythm as well. A typical rhythmic cadence will have longer note values than the prevailing rhythm. So, for example, a phrase might be written predominantly with quarter and eighth notes, but end with half notes at the end of the phrase. Knowing this can sometimes help you find cadential points.

Row Row Row Your Boat by empauly

Example 13: The song, “Row, Row, Row Your Boat” has two phrases. The first phrase consists mainly of quarter and eighth notes, while the second is built primarily from eighth notes. Note that each phrase end is signaled by a harmonic pattern (HC at the first cadence and PAC at the second), and a change in rhythm, each phrase ending with a dotted half note.

Phrase and Cadence Tutorial

The following tutorial, from music theory.net, explains more about how phrases and cadences work. (Note: If the audio does not work, switch to a different browser).

Exercise provided by musictheory.net

Review

Try this activity to reinforce what you have learned about cadences so far.

References

The following open educational resources were used in the creation of this chapter:

Malawey, V. (2024). Harmonic Functions and Cadences. Multimodal Musicianship. Pressbooks.

H5P Cadence Quiz and ideas for contextualizing cadences.

Mount, A. (n.d.) Phrases, Cadences and Harmonic Functions. Fundamentals, Function and Form. University of Nebraska. Pressbooks.

Musical examples and descriptions: Examples 6, 7, 11 and 12.

Murphy, Barbara. (2018). Cadences. Music Theory Materials.

Cadential examples 1, 3, 5, 8 and 10 transcribed into Musescore by Elizabeth Pauly.

Peterson, J. (2023). Introduction to Harmony, Cadences and Phrase Endings. Open Music Theory. Viva Publications. Pressbooks.

Musical Examples and descriptions: Examples 2 and 4.

 Musictheory.net [https://www.musictheory.net]

Interactive Tutorial

All materials used in this chapter are licensed with the Creative Commons CC BY-NC-SA 4.0 International license.