The Plagal Cadence
IV → I
A plagal cadence is the progression IV → I: the subdominant chord resolving to the tonic. It is conclusive but gentler than the authentic cadence, because the subdominant has no leading tone pulling into the tonic. It is nicknamed the "Amen" cadence for its traditional use setting the word "Amen" at the end of hymns.
Hear the Plagal 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
Where the authentic cadence relies on the leading tone for its pull, the plagal cadence has none — the IV chord shares two notes with the I chord and simply settles onto it. In C major, F major (F–A–C) moves to C major (C–E–G): the C is common to both, the A steps down to G, and the F steps down to E.
Because there is no half-step leading-tone tension, the resolution feels calm and settled rather than driving. This is why it reads as a soft confirmation — a benediction rather than a full stop.
Play It in C Major
The two chords of the cadence, spelled in C:
How to Recognize It
Look for the subdominant chord (built on the fourth scale degree) moving to the tonic at the end of a phrase, often after an authentic cadence has already established the key. A plagal cadence frequently appears as a short "tag" after the main cadence, extending the ending.
When It’s Used
The plagal cadence is best known from the "Amen" sung at the close of hymns. Beyond hymnody it appears as a gentle final tag in classical codas, gospel, folk, and pop, where its warm, settled quality rounds off a piece after the main cadence has already resolved it.
Frequently Asked Questions
Why is it called the "Amen" cadence?
In traditional hymn settings, the two syllables of "A-men" are sung over the IV → I motion, so the progression became associated with that word. The nickname stuck even when the cadence is used in secular music.
Is a plagal cadence as strong as an authentic cadence?
No — it is conclusive but softer. Without the leading tone that the dominant provides, the resolution feels calm and settled rather than driving. Composers often use it to confirm an ending the authentic cadence already delivered.
What scale degrees make up a plagal cadence?
The subdominant (IV) chord is built on the fourth scale degree, and the tonic (I) on the first. In C major that is F major to C major.