Cadences

Core Idea

A cadence is a harmonic formula at the end of a musical phrase that creates a sense of rest or continuation. The four main cadence types are: authentic (V–I, the strongest conclusion), half cadence (ends on V, creating tension), plagal (IV–I, the 'Amen' cadence), and deceptive (V resolves to vi instead of I, subverting expectation). A perfect authentic cadence (PAC) requires both V and I in root position, with the melody ending on the tonic — it is the most conclusive possible ending. Cadences punctuate musical form the way punctuation marks punctuate sentences.

How It's Best Learned

Listen to the end of phrases in Bach chorales and identify the cadence type before checking. Compose four-measure phrases that end with each cadence type to feel how each creates a different degree of closure.

Common Misconceptions

• An authentic cadence that lacks one of the PAC criteria (root position chords, melody on tonic) is an imperfect authentic cadence — the distinction matters for formal analysis.
• The deceptive cadence is not a mistake; it is an expressive tool for extending phrases and delaying resolution.

Explainer

Cadences are the moments where harmonic motion pauses — the equivalent of punctuation in language. Just as you can distinguish a question from a statement by the feel of its ending, trained listeners can hear whether a phrase has ended conclusively, tentatively, or with deliberate surprise. The four cadence types encode four different degrees of closure.

The most conclusive ending is the perfect authentic cadence (PAC): V to I, both chords in root position, soprano ending on the tonic. Every element reinforces finality — the dominant's tension resolves, the bass lands on the most stable note, and the top voice arrives at the tonal center. Remove any one element and the closure weakens, giving you an imperfect authentic cadence instead. This distinction seems pedantic until you realize it governs entire sections of a piece: a PAC closes a period; an imperfect authentic cadence often closes only a phrase within one.

The half cadence deliberately leaves the listener suspended. By landing on V and stopping there, the phrase creates expectation without satisfying it. The ear knows that V requires I, so you brace for what comes next. This is why half cadences so often appear at the midpoint of a period — they divide the music into an open question (antecedent) and a closed answer (consequent). Hearing a half cadence is hearing a promise.

The plagal cadence (IV–I) has a softer, more hymn-like quality than the authentic cadence — it is the 'Amen' at the end of a hymn. It resolves, but without the tension-discharge of V–I, since IV is not as harmonically tense as V. The deceptive cadence (V–vi) is the composer's sleight of hand: your ear expects I after V and gets vi instead. Rather than being a mistake, this creates surprise and extension — the phrase cannot close here, so it must continue. Beethoven, Bach, and countless others use it to delay a cadence the listener has been anticipating for measures.

When listening to music analytically, try to identify cadences without looking at the score. Can you hear the difference between a half cadence and a deceptive one? Both feel unresolved, but the deceptive cadence also feels surprising — you expected closure and were redirected. Training yourself to feel these distinctions in real time is the goal of ear training on cadences.