Cadences
How musical phrases come to a stop. Cadences are the punctuation of tonal music — some resolve like periods, others hang in the air like commas, and a few set you up for a resolution that never comes.
What is a cadence?
A cadence is a 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.
Every cadence is built on the relationship between two chords — usually the second-to-last chord of a phrase and the final chord. 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.
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.
Cadences are the harmonic equivalent of punctuation. The Perfect Authentic Cadence is the period. The Half Cadence is the comma. The Deceptive Cadence is the unexpected plot twist mid-paragraph. Understanding them lets you predict — and shape — how music feels.
Perfect Authentic Cadence (PAC)
conclusiveThe strongest, most conclusive cadence in tonal music. Both chords are in root position, and the melody (the top voice) lands on the tonic. The PAC is the standard way to end a phrase, section, or entire piece.
The final cadence of nearly every Classical-era piece — Mozart, Haydn, and Beethoven all close major works with a PAC. The end of "Twinkle, Twinkle, Little Star" is a textbook example.
Imperfect Authentic Cadence (IAC)
conclusiveAlso a V → I motion, but one of the perfect conditions is weakened — either a chord is inverted, or the melody lands on the 3rd or 5th instead of the tonic. Still conclusive, but less final than a PAC.
Often used at the ends of internal phrases to provide closure without the full finality of a PAC. Common in Bach chorales where the soprano line lands on the mediant (3rd) rather than the tonic.
Half Cadence
inconclusiveA half cadence ends on the V chord, leaving the phrase feeling unfinished — like a musical comma rather than a period. It builds expectation that more music must follow to resolve.
The first half of "Twinkle, Twinkle, Little Star" ends with a half cadence on G ("how I wonder what you are"). The pause feels open — you can sense the second half must follow.
Plagal Cadence
conclusiveKnown as the "Amen" cadence because it traditionally sets the word "Amen" at the end of hymns. The IV → I motion is conclusive but softer than the authentic cadence — there is no leading tone pulling into the tonic.
The "Amen" sung at the end of countless hymns. Outside hymnody, it appears in many pop songs and folk tunes — the end of "Hey Jude" by The Beatles uses a sustained plagal cadence over the "na-na-na" coda.
Deceptive Cadence
inconclusiveThe deceptive cadence sets up an expected V → I resolution but substitutes vi instead. The dominant chord still resolves "correctly" in voice-leading terms, but the harmonic destination is unexpected — creating surprise and prolonging the phrase.
Beethoven loved deceptive cadences and used them throughout his sonatas to extend phrases just when the listener expects closure. The bridge of "Don't Stop Believin'" by Journey uses a deceptive cadence right before the final chorus.
Phrygian Half Cadence
inconclusiveA special type of half cadence found in minor keys. The first-inversion iv chord places the 6th scale degree in the bass, which then steps down a half step to the 5th — the bass of the V chord. The half-step bass descent gives the cadence its distinctive Phrygian flavor.
Common in Baroque slow movements that lead into a faster section in the relative major. The end of the slow introduction in Bach's "Wachet auf" cantata uses a Phrygian half cadence to set up the next section.
Cadence summary table
Quick reference for all six cadences. Bookmark this section — it's the fastest way to identify a cadence when you see one in a score.
| Cadence | Roman numerals | Feeling | Function |
|---|---|---|---|
| Perfect Authentic | V → I | Conclusive | The strongest ending. Ends pieces. |
| Imperfect Authentic | V → I (with inv. or melody not on tonic) | Conclusive | Softer ending. Ends internal phrases. |
| Half | any → V | Inconclusive | Pause / comma. Sets up continuation. |
| Plagal | IV → I | Conclusive | Softer ending. The “Amen” cadence. |
| Deceptive | V → vi | Inconclusive | Surprise. Prolongs the phrase. |
| Phrygian Half | iv⁶ → V (minor keys only) | Inconclusive | Specialized half cadence. Baroque flavor. |
Test your understanding
Five quick questions drawn from a larger bank — cadence identification, Roman-numeral analysis, and the difference between conclusive and inconclusive endings. Each retry pulls a fresh randomized set.
Test your understanding with 5 quick questions.
Now test the by-ear side. These questions describe what each cadence sounds like — the audible signatures that let you identify a cadence without seeing the score.
Test your understanding with 5 quick questions.
Frequently asked questions
What is the strongest cadence in tonal music?
What is the difference between a PAC and an IAC?
Why is the plagal cadence called the "Amen" cadence?
What makes a cadence "deceptive"?
What is the Phrygian half cadence?
How do I identify a cadence when I see one in a score?
Practice these cadences
The fastest way to internalize cadences is to play them. These tools drill the chord shapes, key relationships, and circle-of-fifths motion that every cadence depends on.