How musical phrases end · V → I · IV → I · V → vi · ♭II → I
Cadences are how musical phrases come to a stop. They are the punctuation marks of tonal music — some resolve like periods (the Perfect Authentic Cadence), some hang in the air like commas (the Half Cadence), and some set you up for a resolution that never quite comes (the Deceptive Cadence). Mastering five or six of these patterns gives you the vocabulary to end a phrase exactly the way you mean to.
The signature cadence — Perfect Authentic
V → I, both chords in root position. The strongest "we have arrived" sound in tonal music. Try it in any key and either mode below.
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V›G
80 BPM
FormulaV → I (PAC) · IV → I (Plagal) · ? → V (Half) · V → vi (Deceptive)
RomanSix canonical patterns — see Variations below.
FunctionPhrase-ending. Conclusive cadences land on tonic; inconclusive cadences leave the phrase open.
Common inEvery Western tonal style — classical, hymnody, jazz, pop, film score, flamenco.
FamousThe closing bars of nearly every Classical-era piece. The "Amen" at the end of hymns. Beethoven's deceptive cadences.
The deep navy blue palette on this page is inspired by music-color synesthesia — cadences maps to deep navy blue, reflecting its punctuating, conclusive weight.
About Cadences
A cadence is the chord progression that ends a musical phrase. In tonal music, cadences function the way punctuation functions in written language — they tell the listener whether a phrase has come to a definitive close, a soft pause, or a surprising swerve. The choice of cadence shapes the emotional arc of a piece: a Perfect Authentic Cadence at the end of a symphony makes the conclusion feel inevitable, while a Deceptive Cadence in a Beethoven sonata can hold the listener in suspense for another sixteen bars.
Western tonal music recognizes a small number of standard cadence patterns, each with a distinct sound and function. The five most important are the Perfect Authentic, Imperfect Authentic, Half, Plagal, and Deceptive cadences. A sixth — the Phrygian Half Cadence — is a specialized variant that shows up specifically in minor keys and gives the music an unmistakable Baroque or Spanish flavor.
Cadences come in two emotional categories. Conclusive cadences land on the tonic (I or i) and create a sense of arrival — the listener feels the phrase has finished. Inconclusive cadences end on something other than the tonic and leave the music feeling open, expectant, or surprised. Mastering cadences means understanding both which chords are involved and what emotional effect each combination produces.
Variations
Half Cadence
Ends on V — a musical comma. Sets up continuation rather than closing the phrase.
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80 BPM
Plagal Cadence — the "Amen"
IV → I. Softer than authentic; no leading-tone pull. The traditional hymn ending.
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70 BPM
Deceptive Cadence
V fakes the listener out by landing on vi instead of I. Beethoven's favorite phrase-extender.
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Phrygian Half Cadence
iv⁶ → V in minor. Stepwise bass descent gives it a Baroque, Spanish flavor.
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iv6›Fm
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Famous songs & pieces
The closing bars of nearly every Classical sonata — Mozart, Haydn, Beethoven (Perfect Authentic Cadence)
"Amen" — closing of countless hymns (Plagal Cadence)
Bridge of "Don't Stop Believin'" — Journey (Deceptive Cadence right before the final chorus)
"Twinkle, Twinkle, Little Star" (Half Cadence at the end of the first phrase)
"Hey Jude" coda — The Beatles (Sustained Plagal Cadence on the "na-na-na" outro)
The Perfect Authentic Cadence (PAC) is the strongest. It moves V → I with both chords in root position and the melody landing on the tonic. It is the standard way to end a piece in major or minor.
What is the difference between a PAC and an IAC?
Both are V → I motions. A Perfect Authentic Cadence requires both chords in root position AND the soprano on the tonic. An Imperfect Authentic Cadence weakens one of those conditions — either a chord is inverted, or the melody lands on the 3rd or 5th instead of the tonic.
Why is the plagal cadence called the "Amen" cadence?
Because it traditionally sets the word "Amen" at the end of Christian hymns. The IV → I motion has a softer, more "settled" feeling than the authentic cadence — there is no leading tone pulling sharply into the tonic.
What makes a cadence "deceptive"?
A deceptive cadence sets up the listener to expect V → I, but substitutes vi instead. The V chord still resolves "correctly" in voice-leading terms — the leading tone still goes up to the tonic — but the destination chord is unexpected, creating surprise and prolonging the phrase.
How do I identify a cadence when I see one in a score?
Look at the last two chords of a phrase. V → I = authentic. IV → I = plagal. anything → V = half. V → vi = deceptive. iv⁶ → V in a minor key = Phrygian half. Then check whether the authentic cadence is "perfect" (root position + soprano on tonic) or "imperfect" (anything weaker).