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Cadences are harmonic formulas that conclude phrases or larger sections, each with distinct emotional and functional character. Authentic cadences (V-I) sound conclusive and final; half cadences (ending on V) sound incomplete; plagal cadences (IV-I) sound gentle or archaic; deceptive cadences (V-vi) sound surprising. Hearing cadence types by ear trains recognition of formal boundaries, emotional closure, and structural anchors in harmonic and formal architecture.
Hear authentic cadences first in multiple keys, then compare with other cadence types. Practice identifying cadence type in unfamiliar pieces, paying attention to the sense of closure versus incompleteness.
Thinking all cadences sound the same or have similar function. Not hearing the sense of closure (authentic) versus incompleteness (half) or surprise (deceptive). Confusing voice-leading specifics with cadence type—cadence type is about the harmonic progression, not the exact voice-leading realization.
You already know cadence types from theory — that an authentic cadence is V–I, a half cadence ends on V, a plagal cadence is IV–I, and a deceptive cadence is V–vi. Now the task is to hear them, which means training your ear to recognize not just the chord labels but the *feeling* each cadence produces. That feeling is your primary guide when listening, because you'll often hear a cadence before you've had time to analyze its harmonic content.
The authentic cadence is the strongest harmonic close in tonal music. When V moves to I, you hear finality — the tension of the dominant releasing into the stability of the tonic. The perfect authentic cadence (V–I with both chords in root position and scale degree 1 in the soprano) sounds especially conclusive, like a period at the end of a sentence. The imperfect authentic cadence (with inversions or a different soprano note) sounds like a comma — still a V–I motion, but slightly less settled. Train your ear to feel the *degree* of closure, not just whether a cadence happened.
The half cadence ends a phrase on V and creates a sense of incompleteness — like a question mark. The phrase sounds unfinished, as if it's waiting for a response. Often the next phrase provides that response by ending with an authentic cadence. When you hear a phrase that lands on a sustained, open-sounding chord, suspect a half cadence. The plagal cadence (IV–I) sounds gentle and often archaic — it's the "amen" cadence of hymns. It lacks the sharp leading-tone pull of V–I, so it feels softer, like a quiet affirmation rather than a dramatic resolution.
The deceptive cadence (V–vi) is the one that surprises. Your ear has learned to expect V to resolve to I — so when it moves to vi instead, something feels wrong or withheld. Composers use this to extend a phrase: the expected cadence is denied, so the music continues, often building toward a more definitive close later. When listening, the key signal is the surprise quality: you expected resolution, but the chord that arrived is not the tonic. The vi chord shares two notes with I, which is why it functions as a plausible substitute — but the missing tonic note makes the incomplete feeling immediately audible.
When developing your ear, focus on the *cadential bass motion* as a first cue. V–I gives a falling fourth (or rising fifth) in the bass; half cadences arrive on the dominant; IV–I gives a falling fifth. Then listen to the soprano — whether scale degree 8 (1) or 3 or 2 is in the top voice affects how conclusive the authentic cadence feels. With practice across a wide range of repertoire, cadence recognition becomes automatic: you feel the formal boundary before you consciously identify the progression.
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