A cadence is a chord progression at the end of a musical phrase that creates a sense of conclusion or pause. The four main cadences are: perfect (V-I), imperfect (I-V), plagal (IV-I), and interrupted (V-VI).
A cadence is a harmonic formula — a specific chord progression — that appears at the end of a musical phrase to create a sense of conclusion, pause, or tension. Cadences are the punctuation marks of music: some feel like full stops, others like commas, and others like questions hanging in the air.
There are four main cadence types in Western tonal music:
The perfect cadence (also called authentic cadence) moves from the dominant chord (V or V7) to the tonic (I). V–I is the most conclusive harmonic movement in Western music — it creates a strong, definitive sense of ending. It sounds like a full stop. The perfect cadence is used at the end of pieces, at the end of major sections, and wherever a sense of resolution and finality is required. When the dominant chord is in root position and the tonic resolves to root position, it is called a perfect authentic cadence (PAC), the most conclusive of all.
The imperfect cadence (or half cadence) ends on the dominant chord (V), moving from any chord to V — commonly I–V, IV–V, or ii–V. It sounds unresolved and questioning — like a phrase that ends with a question mark. It creates expectation of continuation.
The plagal cadence moves from the subdominant (IV) to the tonic (I). It is softer and more relaxed than the perfect cadence — often described as having a spiritual or ecclesiastical quality. The 'Amen' setting at the end of hymns almost always uses a plagal cadence. Rock and folk music use it frequently for a gentle sense of resolution.
The interrupted cadence (or deceptive cadence) moves from V to any chord other than I — most commonly V–vi. It creates surprise by promising resolution and delivering something unexpected. Composers use it to extend phrases and delay the final resolution.
Understanding cadences transforms how you listen to and analyse music. Music theory teachers on Virgoul make harmonic analysis practical — connecting abstract concepts like cadences to the chord progressions you encounter in real music, so theory becomes a tool you use rather than facts you memorise.
Join VirgoulThe perfect cadence (V–I or V7–I) is the most common cadence in Western tonal music. It appears at the end of phrases, sections, and entire pieces to create a strong sense of resolution and conclusion. The dominant seventh chord (V7) creates additional tension through the tritone between its third and seventh, making the resolution to the tonic even more satisfying.
A perfect cadence ends on the tonic (V–I) and creates a sense of conclusion — a full stop. An imperfect cadence ends on the dominant (any chord–V) and creates a sense of incompletion — a question mark or comma. Perfect cadences close phrases; imperfect cadences open them to continuation.
The term 'plagal' comes from the Greek 'plagios' meaning 'oblique' or 'sideways,' referring to a category of medieval church modes. The IV–I movement became associated with sacred music and the word 'Amen' set to music at the end of hymns, which is why it is also called the 'Amen cadence.' Despite its ecclesiastical associations, it is used widely in secular music — many rock and pop songs end with a plagal cadence for its gentle, settled quality.
A deceptive cadence (also called an interrupted cadence) moves from the dominant (V) to an unexpected chord — most commonly the submediant (vi) instead of the expected tonic (I). It creates surprise by setting up the expectation of resolution and then denying it. Composers use deceptive cadences to extend phrases, add emotional complexity, and delay the final resolution for greater impact when it eventually arrives.
Listen for chord movements at the end of musical phrases — where the music pauses, breathes, or concludes. If it moves to the tonic and sounds concluded, it is a perfect or plagal cadence. If it stops on the dominant and sounds unfinished, it is an imperfect cadence. If it moves to the dominant and then resolves somewhere unexpected, it is an interrupted cadence. Train your ear by listening to short Bach chorale phrases and identifying the cadence at the end of each phrase.