The Deceptive Cadence
V → vi
A deceptive cadence sets up the expected V → I resolution but substitutes the vi chord instead, landing on the relative minor. The dominant still resolves smoothly in voice-leading terms, but the harmonic destination is a surprise — which prolongs the phrase and delays the true ending the listener was expecting.
Hear the Deceptive Cadence
Press play to hear the cadence resolve, then change the key to hear it move — the pattern is the same in every key. The Roman numerals below the keys show the harmony.
How It Works
The dominant chord primes the ear for the tonic. In a deceptive cadence, the bass moves up a step from the fifth degree to the sixth instead of falling to the tonic, so the leading tone still resolves upward but the chord underneath is vi (the relative minor) rather than I.
Because vi shares two notes with I, the substitution feels logical, not jarring — but the expected arrival never comes. The result is a "false ending" that keeps the music going, often used to extend a phrase right at the moment the listener braces for closure.
Play It in C Major
The two chords of the cadence, spelled in C:
How to Recognize It
Listen for a dominant chord that seems about to resolve home but instead lands on a minor chord that feels like a gentle surprise. If the bass rises a step (from the fifth degree to the sixth) where you expected it to fall to the tonic, you have heard a deceptive cadence.
When It’s Used
Composers use the deceptive cadence to extend a phrase just when the ear expects it to end — a favorite device in the codas of classical sonatas, where a delayed ending heightens the eventual arrival. It also appears widely in film scoring and songwriting to sustain emotional momentum before the real resolution.
Frequently Asked Questions
Why is it called a deceptive cadence?
The dominant chord sets up the expectation of resolving to the tonic (I). Landing on vi instead "deceives" that expectation — hence deceptive cadence (also called an interrupted cadence).
What chord replaces the tonic in a deceptive cadence?
Usually vi, the relative minor, which shares two notes with the tonic chord so the substitution sounds smooth. In C major, that is A minor standing in for C major.
What comes after a deceptive cadence?
Because it avoids resolution, the music usually continues and works its way back to a genuine authentic cadence a few chords later, giving the delayed ending extra weight.