The Deceptive Cadence
A deceptive cadence begins like an authentic cadence but sends V to vi instead of I. In C major, compare G-C with G-Am. The dominant tension partly resolves, yet the tonic arrival is postponed.
- V to vi
- also called interrupted cadence
- G to Am in C
same family
The progression
- I
- IV
- V
- vi
First establish the expectation
A deceptive cadence works because V-I is already familiar. In C major, G or G7 points toward C through the leading tone B and the dominant root G.
Play G-C several times. Then replace only the final C chord with Am. The surprise belongs to the relationship between the expected and actual destination.
What happens in the voices?
Root-position G major and A minor share no chord tones, so their connection is not based on common notes. It works through directed stepwise motion:
- B rises to C, just as it can in an authentic cadence
- G rises to A
- D can fall to C or rise to E
- with G7, F usually falls to E
Several voices still move in the direction expected from a dominant. The bass, however, arrives on A instead of C. The result releases tension without supplying the expected tonic root.
Why the phrase continues
The vi chord is diatonic and stable enough to support a new phrase, but it does not confirm the tonic as strongly as I. A composer can extend the sentence from vi, repeat the approach and save V-I for a later structural point.
This is a harmonic tool for managing form. Its effect depends on placement: at a cadence it delays closure; inside a loop, V-vi may simply sound like a regular chord change.
Compare the two outcomes
| Ending | Bass | Leading tone | Result |
|---|---|---|---|
| V-I | G to C | B to C | tonic confirmed |
| V-vi | G to A | B to C | tonic postponed |
| V-IV | G to F | context dependent | dominant redirected |
Keep tempo and melody identical while switching only the final chord. That isolates the effect of the cadence.
Use it in a phrase
- Write a four-bar phraseend bar 4 with V-I.
- Repeat the phrasereplace I with vi.
- Add two more barscontinue from vi through IV or ii back toward V.
- Resolve laterlet the delayed I mark a larger arrival.
In a minor key
A deceptive cadence in minor often moves V to VI. In A minor, E7 can move to F major instead of Am. The chromatic G-sharp in E7 still rises to A, while the bass moves from E to F.
The destination is VI rather than vi because the sixth chord is major in natural minor. The principle remains: dominant expectation is redirected to a chord built on scale degree 6.
Make it yours
- Deceive once, resolve next time
Repetition makes the later authentic cadence more noticeable.
- Put the melody on scale degree 1
The melody can deliver the expected tonic note while the bass moves to 6, making the mixed result easy to hear.
- Extend the final chorus
Replace an early V-I with V-vi, add another line and reserve I for the real ending.