Cadences are like the period at the end of our sentence. It announces we have arrived at the end. A cadence is the harmonic conclusion of a phrase. Most of the time, cadences are used to create a sense of resolution or closure. However, it is also possible for cadences to avoid giving closure, or give only partial closure, as in a deceptive cadence or a half cadence.
There are several types of cadences that we can study. Each has its own function in a piece of music. Here is a list of all of the types of cadences:
- Perfect Authentic = PAC
- Imperfect Authentic = IAC
- Plagal Cadence = PC
- Deceptive Cadence = DC
- Half Cadence = HC
- Phrygian Half Cadence = PHC
Authentic Cadences
An authentic cadence consists of a dominant function chord (V or vii) moving to a tonic. It is called an authentic cadence because of the dominant-tonic progression that provides a sense of resolution and finality to a phrase. Perfect authentic cadences are the strongest type of cadence, meaning that they provide the strongest sense of resolution in a piece of music.
Usually, you will hear perfect authentic cadences at the end of a piece or at the end of sections of a piece. In order to be considered a perfect authentic cadence, a cadence must meet all the following criteria:Here is an example of a perfect authentic cadence. Notice how the leading tone must be in the soprano voice, since we want the soprano voice to end on the tonic. Of course, if the leading tone isn’t in the soprano voice, it is always possible to triple to tonic and omit the fifth of the tonic triad. However, it is preferable for a perfect authentic cadence to have all voices present.
- It must use a V chord as the dominant chord (as opposed to a vii or viio chord) ✅
- Both chords must be in root position. ✅
- The soprano voice must end on the tonic. ✅
- The soprano must move by step.✅
Here is an example of a perfect authentic cadence. Notice how the leading tone must be in the soprano voice, since we want the soprano voice to end on the tonic. Of course, if the leading tone isn’t in the soprano voice, it is always possible to triple to tonic and omit the fifth of the tonic triad. However, it is preferable for a perfect authentic cadence to have all voices present.
If the cadence doesn’t meet all those criteria, it’s considered to be an imperfect authentic cadence. Imperfect authentic cadences still provide a sense of resolution and finality to a phrase, but they are not as strong as perfect authentic cadences.
Imperfect authentic cadences are probably the most common type of cadence in music, and they are usually used to end phrases and sections of music. They might also be at the end of a musical piece. For example, a composer might use them at the end of a movement of a sonata before moving to the next movement.
Here are two examples of imperfect authentic cadences. Notice how in the first example, the viio chord is in first inversion, meaning that the supertonic is in the bass line. It is common, when using vii chords, to resolve the supertonic down to the tonic, especially when the supertonic is in the bass line. It would be acceptable to have a vii6-I6 imperfect authentic cadence, but this cadence would be quite weak.
In the second example, there is a V 6/4 to I cadence. This is an extremely weak cadence – usually, 6/4 chords are not used at all in this context. However, since there is a dominant to tonic motion, there will still be some form of resolution. Since the dominant chord is very weak, it is smart to put the tonic chord in root position so that listeners can hear the cadence clearly.
In minor key, we can have V-i perfect and imperfect authentic cadences. However, we might have a V-I cadence as well. This is called a Picardy third. It originated in music during the Renaissance era, and it is most commonly used to end a piece of music in minor mode. You will almost never see a Picardy third in the middle of a piece of music.
Plagal Cadences
- A plagal cadence (PC) consists of a subdominant function chord (IV or ii) moving to tonic. If a ii chord is used in a plagal cadence, it is usually in first inversion (a ii6 chord) so that the fourth scale degree is in the base. Also, the third of the chord is usually doubled, so that we can have a stronger subdominant sound.
It is called a plagal cadence because in Christian churches, the final “Amen” in hymns would have a IV-I progression. The ending of Handel’s Messiah uses a series of very powerful plagal cadences towards the end of the piece. This emphasizes the religious aspect of the piece.
However, plagal cadences are also used outside of religious music. The I-V-vi-IV chord progression is commonly used everywhere in music – especially in popular music. To see just how common this chord progression is, check out this funny video by the Axis of Awesome.
To be considered a Perfect Plagal Cadence, a cadence must meet all the following criteria:
- It must use a IV chord (not a ii) to lead into the tonic. Technically, you can use a IV7 chord to lead into the I chord, and it will still be a perfect plagal cadence. However, this is rare in music from the common practice period. ✅
- Both chords must be in root position. This is not required, but you should usually double the root in both chords as well. ✅
- The soprano must end on the tonic ✅
- The soprano must keep the common tone, meaning that the fifth of the IV chord (which is the tonic) should also be in the soprano line ✅
If the cadence doesn’t meet all those criteria, it’s considered to be an imperfect plagal cadence. Here are some examples of imperfect plagal cadences:
In the first example, notice that the root of the chord is still doubled in both instances, and we still keep the common tonic tone when leading into the I chord – this time, though, it is in the alto line. Keeping common tones whenever possible is just considered good voice leading practice, so it is good to do it regardless of whether you are trying to write a perfect cadence.
In the second example, we notice that the ii chord is in root position, which is a little bit rare when writing plagal cadences. The tonic chord is also in first inversion. As a result, this cadence will be much weaker than the cadence preceding it.
Half Cadences
Next, a half cadence is any cadence that ends on the dominant chord (V). Usually, in Major, we will go from a I chord to a V chord. Going from a IV chord to a V chord is also common, as the subdominant resolves to the dominant, giving some sense of resolution without going back to the “home” chord: the tonic.
When writing in minor mode, we can use a specific type of half cadence called the Phrygian half cadence, which must meet the following criteria:
- It occurs ONLY in minor key. ✅
- It uses a iv6 chord moving to V. The iv chord MUST be in first inversion ✅
- The soprano and bass move by step in contrary motion. Since the bass moves down by a half step, the soprano must therefore move up by a step. Usually, we achieve this by doubling the root and having it move up by step to the root of the V chord. ✅
- The soprano and bass both end on the dominant scale degree. ✅
Here is an example of a Phrygian half cadence. Notice how the bass moves down by a half step – this is a good way to recognize phrygian cadences by ear. If you’ve been looking ahead, you might notice that this half step is a ii-I interval in Phrygian mode: hence the name Phrygian half cadence.
Note that a common mistake in writing phrygian cadences is the possibility to write an augmented second in a voice if you are not careful. If, for some reason, you have to double the third of the chord in the iv6 chord, then make sure that it does not lead into the third of the chord of the V chord – otherwise, you will get a dissonant augmented second in one of the voices.
Also, don’t forget to raise the leading tone in the V chord!
Phrygian half cadences were used quite frequently to end slow movements that move into faster movements, especially in Baroque music. They fell out of use in the Romantic and Modern periods, so using them gives a little bit of a “vintage” sound.
Deceptive Cadences
A deceptive cadence is a cadence where the dominant chord (V) resolves to something other than tonic, almost always the submediant chord (vi or VI). You’ll usually see this type of cadence inside of sections of music or inside of a piece – it is almost never used to end a piece of music.
Here is an example of a deceptive cadence:
One thing to note is that there are “layers” of deceptive cadences. A V-vi deceptive cadence is much more common and less unsettling than a V-IV or V-iv deceptive cadence, for example.
Frequently Asked Questions
What's the difference between a plagal cadence and a regular authentic cadence?
An authentic cadence and a plagal cadence both close phrases, but they work differently. An authentic cadence is the dominant → tonic move (V or V7 → I/i). When it’s root-position with the tonic in the soprano it’s a Perfect Authentic Cadence (strongest). A plagal cadence is IV (or iv) → I (or i) and uses the predominant/subdominant function to conclude—it feels “softer” or more hymn-like (the “Amen” cadence). On the AP exam you should ID both by chord roots and function: IV/iv → I/i = plagal (predominant ending), V/V7 → I/i = authentic (dominant→tonic resolution). Remember the CED calls out plagal as a predominant that can conclude a phrase (PIT-2.I.3). For a quick review, see the Topic 5.5 study guide (https://library.fiveable.me/music-theory/unit-5/cadences-predominant-function/study-guide/INNHEx3QCfTJPy2yXPqC) and more unit resources (https://library.fiveable.me/music-theory/unit-5). For practice IDing cadences, try the practice problems (https://library.fiveable.me/practice/music-theory).
How do I identify a Phrygian half cadence when I'm listening to music?
Listen for a phrase that ends on a V (a half cadence) but is preceded by a minor iv in first inversion (iv6). On recordings you’ll hear: 1) the phrase doesn’t resolve to tonic—it stops on a dominant sonority (V); 2) right before that, the bass moves down a half step (the Phrygian motion: ♭6 → 5 in minor) because iv6 has the scale-degree 6 in the bass. That half-step bass descent is the giveaway. Timbre/voicing can hide chord quality, so focus on the bass line and whether the pre-dominant sounds minor and in first inversion. Remember: Phrygian half cadence appears only in minor (CED: iv6–V) and is tested in aural tasks (PIT-2.I). Practice identifying it in short excerpts—the Unit 5 study guide (https://library.fiveable.me/music-theory/unit-5/cadences-predominant-function/study-guide/INNHEx3QCfTJPy2yXPqC) and Fiveable’s practice bank (https://library.fiveable.me/practice/music-theory) have examples you can use.
I'm confused about predominant function - can someone explain it in simple terms?
Think of predominant function as the musical setup before the “tension” of the dominant (V)—it prepares you for V (and then tonic). Predominants are usually IV/iv, ii (or iiº), and sometimes vi/VI or iii/III when they act as connectors. They move away from tonic without sounding final, so they point toward dominant’s stronger pull. On the AP CED, predominant chords show up in cadences that conclude phrases: plagal cadences (IV–I or iv–i) and the Phrygian half cadence (iv6–V in minor) use predominant function to lead to a phrase ending. A deceptive cadence (V–vi) breaks the expected V–I tonic resolution by substituting a non-tonic chord instead. For exam prep, be ready to ID these in notated and performed music (PIT-2.I). If you want a quick refresher, check the Topic 5.5 study guide (https://library.fiveable.me/music-theory/unit-5/cadences-predominant-function/study-guide/INNHEx3QCfTJPy2yXPqC) and practice hundreds of problems at (https://library.fiveable.me/practice/music-theory).
What does iv6-V mean in Roman numeral analysis?
iv6–V means a minor subdominant chord (iv) in first inversion (6 = third in the bass) moving to the dominant (V). In minor keys this specific progression is called the Phrygian half cadence (CED: iv6–V, minor only). It functions as a predominant → dominant formula that ends a phrase without reaching tonic (so it’s a half cadence). Why “Phrygian”? In minor the bass of iv6 is the lowered 6th scale degree; moving from that pitch down a half step to the dominant’s root gives the characteristic half-step descent (e.g., A–G# in E minor: iv6 A/C → V B). On the AP exam you should label iv6 correctly in Roman numerals and recognize it as a predominant that cadences on V (Topic 5.5). For more examples and practice, see the Topic 5.5 study guide (https://library.fiveable.me/music-theory/unit-5/cadences-predominant-function/study-guide/INNHEx3QCfTJPy2yXPqC) and the Unit 5 overview (https://library.fiveable.me/music-theory/unit-5). For extra drills, check the practice problems (https://library.fiveable.me/practice/music-theory).
How do I hear the difference between deceptive and authentic cadences?
Authentic cadences (V → I, or V → i) sound like a clear ending: the dominant’s leading tone resolves up to tonic and the bass usually moves V→I, giving a strong sense of “finality.” A perfect authentic cadence has both soprano and bass on chord tones (often tonic in soprano) and feels conclusive. A deceptive cadence spoils that expectation: instead of V→I it goes V→(non-tonic), commonly V→vi (or V→VI in minor). You’ll hear the dominant’s pull but no full landing—the leading tone doesn’t resolve to tonic or the soprano/bass land on a chord tone that isn’t tonic—so it sounds like a surprise or continuation rather than an ending. To practice: listen for the V chord’s dominant pull, then check whether it resolves to tonic (authentic) or to a different chord (deceptive). AP exams ask you to identify cadences aurally and in notation (PIT-2.I), so drill examples in the Topic 5.5 study guide (https://library.fiveable.me/music-theory/unit-5/cadences-predominant-function/study-guide/INNHEx3QCfTJPy2yXPqC) and more practice problems (https://library.fiveable.me/practice/music-theory).
What makes a cadence "deceptive" and why do composers use them?
A deceptive cadence happens when the dominant (V) leads you to a chord other than tonic—most commonly the submediant (vi in major, VI in minor) —so the expected V–I authentic resolution is “avoided” (CED: “the deceptive cadence avoids the V–I resolution by having a non-tonic chord substitute for tonic”). Musically, it breaks harmonic expectation and delays closure: composers use it to extend phrases, create surprise or emotional ambiguity, smooth voice-leading (common tones move less), or pivot to a new key. In AP terms, recognize it by V moving to a non-tonic chord (often vi); listen or read for an interrupted finality rather than the strong tonic arrival of an authentic cadence. Deceptive cadences are fair game on the exam for identification in notated or performed music (PIT-2.I). For more examples and practice, check the Topic 5.5 study guide (https://library.fiveable.me/music-theory/unit-5/cadences-predominant-function/study-guide/INNHEx3QCfTJPy2yXPqC) and the 1000+ practice problems (https://library.fiveable.me/practice/music-theory).
I don't understand why the plagal cadence is called the "Amen cadence" - help?
“Plagal” got the nickname “Amen cadence” because it's the cadence singers usually use to sing the word “Amen” at the end of hymns: the harmony moves IV (or iv) → I (or i), often with the melody sustaining or stepping—so the text “A-men” naturally fits those two chords. On the AP curriculum this is the plagal cadence (CED PIT-2.I.3) and it functions as a predominant/subdominant-type closure rather than the stronger dominant → tonic (authentic) ending, so it sounds softer and less final. Musically: the bass often moves by fourth (or fifth down), outer voices resolve simply, and the feeling is one of gentle confirmation rather than strong tonic resolution. You’ll need to ID IV–I (or iv–i) cadences on the exam, so practice recognizing that sound. For a focused review see the Topic 5.5 study guide (https://library.fiveable.me/music-theory/unit-5/cadences-predominant-function/study-guide/INNHEx3QCfTJPy2yXPqC) and more unit review/practice at the Unit 5 page (https://library.fiveable.me/music-theory/unit-5) and the practice problems library (https://library.fiveable.me/practice/music-theory).
How do I analyze cadences in minor keys versus major keys?
In analysis, treat cadences the same way functionally, but watch accidentals and common minor-only forms. Key points: - Authentic cadences: V–I (major) or V–i (minor). In minor you usually raise the 7th (harmonic/melodic minor) so V and vii° behave like in major (strong leading tone). Look for that raised leading tone in the score or a raised 7th in the ear. - Half cadence: any phrase ending on V (major or minor). - Plagal cadence: IV–I or iv–i. In minor iv → i is common (modal mixture less of an issue because iv is diatonic in natural minor). - Phrygian half cadence (minor only): iv6–V —listen for the stepwise bass descent (♭6–5) and the minor-mode sonority (CED PIT-2.I.3). - Deceptive cadence: V resolves to vi (major) or to VI/♭6 (minor) instead of tonic—analyze as dominant with submediant substitution and note voice-leading. - Always cite the actual pitch raising (leading tone) when marking minor; the AP exam asks you to ID cadences in performed and notated music (PIT-2.I). For more examples and practice, see the Topic 5.5 study guide (https://library.fiveable.me/music-theory/unit-5/cadences-predominant-function/study-guide/INNHEx3QCfTJPy2yXPqC), the Unit 5 overview (https://library.fiveable.me/music-theory/unit-5), and 1,000+ practice problems (https://library.fiveable.me/practice/music-theory).
What's the predominant function and how is it different from dominant function?
Predominant function is any chord that leads away from tonic and prepares the dominant—it creates harmonic motion toward V (or vii°). Common predomina nts are IV (or iv), ii (ii°), and some iv6 shapes like the Phrygian half cadence (iv6–V in minor). Dominant function, by contrast, is the harmony that creates strong tension seeking tonic resolution—mainly V (and V7) or vii°. In short: predominant = “sets up” the dominant; dominant = “presses” toward tonic. On the AP CED this shows up in cadences: plagal (IV–I) and Phrygian half (iv6–V) use predominant function to end a phrase (PIT-2.I.3). For more examples and practice, see the Topic 5.5 study guide (https://library.fiveable.me/music-theory/unit-5/cadences-predominant-function/study-guide/INNHEx3QCfTJPy2yXPqC), the Unit 5 overview (https://library.fiveable.me/music-theory/unit-5), and 1000+ practice items (https://library.fiveable.me/practice/music-theory).
Can someone explain why the Phrygian half cadence only works in minor keys?
Because of the bass movement and voice-leading: the Phrygian half cadence is iv6 → V, and in a minor key the bass of iv6 is the 6th scale degree sitting a half step above the dominant. Example in A minor: iv6 = D–F–A with F in the bass; moving F → E (the V bass) is a descending semitone. That semitone bass descent is the “Phrygian” thing—it sounds like the Phrygian-mode step from 2→1 (half step) and gives the cadence its distinctive color. In major keys the analogous IV6 has a bass a whole step above the dominant (e.g., C major: IV6 = F–A–C with A → G is a whole step), so you don’t get the semitone descent and the special Phrygian sonority. That’s why the CED labels iv6–V “minor only” (PIT-2.I.3). For more examples and practice identifying this cadence, see the Topic 5.5 study guide (https://library.fiveable.me/music-theory/unit-5/cadences-predominant-function/study-guide/INNHEx3QCfTJPy2yXPqC) or the Unit 5 overview (https://library.fiveable.me/music-theory/unit-5).
How do I identify cadence types when I'm doing aural skills practice?
Start by listening for the harmonic “goal” and the bass motion—cadences are about how a phrase ends. Quick ID checklist for aural practice: - Authentic cadence (V→I): strong finality. If the bass goes to I and soprano lands on scale degree 1 (often the tonic), it’s authentic. Perfect authentic = root position and soprano = tonic; otherwise imperfect. - Half cadence: phrase ends on V (you’ll hear unresolved dominant). Listen for a sense of pause but not closure. - Plagal cadence (IV→I or iv→i): softer finality; the harmony sounds like a “Amen” resolution, often with a stepwise soprano into tonic. - Phrygian half cadence (minor only: iv6→V): hear a descending half-step bass motion (6→5 in bass) before the dominant—distinctive in minor. - Deceptive cadence (V→vi or V→? non-tonic): you expect V→I but hear a non-tonic instead; it sounds like the cadence is “dodged.” On the AP exam, aural items and harmonic dictation test these (Topic 5.5, PIT-2.I). Practice identifying endings in short excerpts: listen for bass and soprano targets, then confirm the harmony. For focused review, see the Topic 5.5 study guide (https://library.fiveable.me/music-theory/unit-5/cadences-predominant-function/study-guide/INNHEx3QCfTJPy2yXPqC), the Unit 5 overview (https://library.fiveable.me/music-theory/unit-5), and hundreds of practice problems (https://library.fiveable.me/practice/music-theory).
What chord substitutes for tonic in a deceptive cadence?
The chord that most commonly substitutes for tonic in a deceptive cadence is the submediant (vi in major keys; VI in minor or a borrowed major VI). So instead of the expected V→I (authentic cadence), you get V→vi (major) or V→VI (minor/mixture). The deceptive cadence keeps dominant function (V) but resolves to a non-tonic chord, delaying a true tonic resolution and creating surprise. Voice-leading tip: the leading tone in V usually resolves down to the third of vi, so the motion is smooth even though the harmonic goal is sidestepped. On the AP exam you should be able to ID this by seeing/hearing V followed by vi (CED PIT-2.I.3). For more practice and examples, see the Topic 5.5 study guide (https://library.fiveable.me/music-theory/unit-5/cadences-predominant-function/study-guide/INNHEx3QCfTJPy2yXPqC) and Unit 5 overview (https://library.fiveable.me/music-theory/unit-5).
I'm struggling to hear cadences in real music - any tips for training my ear?
Short, practical tips to train your ear for cadences (PIT-2.I): listen for function first, not chord names. At phrase endings focus on two things—the bass root motion and the soprano/leading-tone resolution. - Start simple: play or sing I—V—I and I—IV—I, then hum the top voice and bass. Notice V’s strong pull to tonic (authentic), IV → I gives a softer “Amen” feel (plagal). - Train the half cadence by hearing a phrase stop on V (no tonic arrival). In minor, learn the Phrygian half: bass moves iv6 → V with that half-step descent in the bass. - Recognize deceptive cadences when V resolves to vi (or some non-tonic) instead of I—it sounds like a surprised ending. - Practice daily in 10–15 minute loops: pick short phrase endings from songs or Bach chorales, loop them, and label cadence type. Sing the bass and soprano lines to feel voice-leading. - Use AP aural practice (Section I, Part A) expectations as your goal (PIT-2.I). For guided study see the Topic 5.5 study guide (https://library.fiveable.me/music-theory/unit-5/cadences-predominant-function/study-guide/INNHEx3QCfTJPy2yXPqC) and drill 1000+ practice items (https://library.fiveable.me/practice/music-theory).
How do I write different types of cadences for my composition portfolio?
Write cadences using their function and simple voice-leading rules. For authentic cadences end a phrase V → I (or V → i in minor); double a stable tone (tonic or soprano), resolve the leading tone up to tonic, and avoid parallel perfects. For half cadences stop on V (any predominant → V) so the phrase feels unfinished. For plagal cadences use IV (or iv in minor) → I with smooth common tones and stepwise motion. The Phrygian half (minor only) uses iv6 → V with the bass moving stepwise (♭6 → 5)—keep inner voices stepwise. For deceptive cadences use V → vi (or V → viio substitute) so the dominant is answered by a non-tonic chord; treat it like a pivot and resolve voices logically. Use predominant chords (IV, ii, vi, predominant sevenths) before V to set up expectation. These are exactly the cadences and voice-leading ideas the AP CED tests (see PIT-2.I.3). Review the Topic 5.5 study guide (https://library.fiveable.me/music-theory/unit-5/cadences-predominant-function/study-guide/INNHEx3QCfTJPy2yXPqC) and practice 1,000+ problems (https://library.fiveable.me/practice/music-theory).
What's the Roman numeral analysis for a plagal cadence in both major and minor?
In Roman numerals a plagal cadence simply moves from the subdominant to tonic: - In major: IV → I (usually root-position or any inversion of the IV moving to I). - In minor: iv → i (the minor subdominant moving to the minor tonic). Note: composers sometimes borrow the major IV (♮IV → i) in minor for a brighter “Amen”-like plagal effect, so you may see IV → i in minor too. On the AP exam you should be able to identify either form as a plagal cadence (CED PIT-2.I.3). For a quick review, see the Topic 5.5 study guide (https://library.fiveable.me/music-theory/unit-5/cadences-predominant-function/study-guide/INNHEx3QCfTJPy2yXPqC) and practice lots of examples at the Unit 5 page (https://library.fiveable.me/music-theory/unit-5) or the practice bank (https://library.fiveable.me/practice/music-theory).