Cadences
A cadence is the harmonic ending of a phrase. The final chords tell you whether the music has arrived, paused, softened its landing or avoided the expected destination. Compare authentic, half, deceptive and plagal cadences from the same key.
- 4 common types
- phrase ending, not just two chords
- melody and bass affect closure
What is a cadence?
A cadence is the combination of harmony, melody and rhythm that closes or pauses a phrase. The final chord pair is important, but timing also matters: a V-I in the middle of a continuous pattern may be ordinary chord motion rather than a cadence.
Listen for a phrase boundary. A longer note, a rest, a melodic arrival or a change in texture often marks the point where the cadence acts.
What are the four common cadence types?
- Authentic cadence: V-I
G or G7 resolves to C in C major. The leading tone B rises to C and the seventh F can fall to E, producing the clearest tonal arrival.
- Half cadence: ends on V
The phrase stops on G instead of resolving it. Dominant tension remains active, so the ending sounds open and prepares another phrase.
- Deceptive cadence: V-vi
G points toward C and then moves to Am. B can still rise to C, but C is now the third of Am. Part of the expected voice leading happens while the harmonic destination changes.
- Plagal cadence: IV-I
F moves to C without a preceding dominant. The arrival is softer because IV lacks the leading tone and dominant tritone.
When is an authentic cadence perfect?
A perfect authentic cadence has three specific features:
- V and I are both in root position.
- The soprano ends on scale degree 1.
- The motion occurs at a real phrase ending.
In C major, G-B-D resolving to C-E-G can form a perfect authentic cadence when G and C are in the bass and the melody lands on C.
An imperfect authentic cadence still uses dominant-to-tonic motion but changes one of those conditions. An inverted V or I, or a melody that ends on E or G, creates closure with less final weight.
What determines how finished a cadence sounds?
- The final harmony
I provides more closure than V, and V-I provides a stronger tonal arrival than IV-I.
- The bass position
Root-position V-I states both harmonic roots clearly. An inversion makes the arrival lighter or redirects the bass line.
- The melody note
Scale degree 1 gives the strongest melodic arrival. Ending on 3 or 5 leaves more openness above the tonic chord.
- The phrase rhythm
A cadence sounds stronger when the final chord falls on a strong beat, lasts longer or coincides with a melodic pause.
Why does V-I sound conclusive?
In G7-C, B rises to C and F falls to E. The tritone B-F contracts into the stable third C-E. The bass moves from G to C, reinforcing the new root.
This voice leading distinguishes an authentic cadence from a simple change of chord labels. You can hear the mechanism by playing only B-F followed by C-E before adding the bass notes G and C.
How does a deceptive cadence redirect the phrase?
V creates the expectation of I. The deceptive cadence keeps the expected leading-tone motion but supports it with vi.
In C major, G or G7 moves to Am. B still reaches C. The bass moves from G to A, and the phrase gains continuation instead of final closure.
This ending is especially useful before a repeated chorus line or an extra phrase. It delays the tonic without discarding the dominant preparation.
Do pop songs always use cadences?
Many pop songs organize harmony as a repeating loop. I-V-vi-IV can circle continuously without a final V-I at the end of every four bars.
Phrase endings may come from the melody, lyric, drum pattern, production change or return to the first chord. A fade-out can end the recording while the harmonic loop remains structurally unfinished.
Cadence analysis is most useful where the music creates a noticeable pause or arrival. Do not label every adjacent V and I as a phrase ending.
How can you identify a cadence by ear?
- Find the pauselisten for a breath, held note, rest or change of texture.
- Judge the resultdoes the phrase sound closed, open, softened or redirected?
- Hear the final bassidentify whether it lands on tonic, dominant or another degree.
- Follow the melodynotice whether the top line reaches scale degree 1, 3 or 5.
Which cadence should you use?
- Choose authentic
for a clear structural arrival or final ending.
- Choose half
when the next phrase should feel necessary.
- Choose deceptive
when you want the dominant preparation to continue somewhere unexpected.
- Choose plagal
for a softer tonic arrival without the full dominant mechanism.