🎵Harmonic Analysis

Types of Cadences

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Why This Matters

Cadences are the punctuation marks of music—they tell listeners when a phrase pauses, when a section ends, and when the composer wants to pull the rug out from under your expectations. You're being tested on your ability to recognize harmonic function, voice leading, and compositional intent through these crucial moments. Understanding cadences isn't just about identifying chord progressions; it's about explaining why a passage feels complete, why tension lingers, or why a resolution surprises us.

In harmonic analysis, cadences reveal how composers manipulate tonal expectations to create emotional impact. Whether you're analyzing a Bach chorale or a pop song, the same principles apply: tension and release, expectation and surprise, motion and rest. Don't just memorize which chords appear in each cadence—know what each cadence does to the listener and why a composer would choose one over another.

Cadences That Deliver Full Resolution

These cadences provide the strongest sense of arrival and closure. The dominant-to-tonic motion ( $V \rightarrow I$ ) represents the most fundamental harmonic resolution in tonal music, with voice leading that pulls tendency tones to their expected destinations.

Perfect Authentic Cadence (PAC)

$V \rightarrow I$ with both chords in root position—this is the gold standard for conclusive endings in tonal music
Tonic in the soprano of the final chord creates the strongest possible sense of arrival and melodic closure
Phrase-ending function makes this the default choice for concluding major sections, movements, and entire works

Imperfect Authentic Cadence (IAC)

$V \rightarrow I$ with a weakening factor—either an inversion, non-tonic soprano note, or $vii°$ substituting for $V$
Less conclusive than PAC because the voice leading or chord position undermines the full sense of resolution
Continuation signal often indicates mid-phrase punctuation or suggests more music will follow

Compare: PAC vs. IAC—both use dominant-to-tonic motion, but PAC requires root position and tonic in soprano while IAC relaxes one or more of these conditions. On an FRQ asking about phrase structure, identifying why a cadence feels weaker often matters more than just naming it.

Plagal Cadence

$IV \rightarrow I$ motion—often called the "Amen Cadence" due to its prevalence in hymn endings
Subdominant function provides resolution without the leading-tone pull of dominant harmony
Softer closure works well as a postcadential extension after a PAC or for gentler, more reflective endings

Cadences That Create Pause Without Resolution

These cadences stop the motion but leave harmonic tension unresolved. Ending on the dominant chord maintains the pull toward tonic, creating anticipation for what comes next.

Half Cadence (HC)

Ends on $V$ —any progression arriving at the dominant chord qualifies, regardless of what precedes it
Open punctuation functions like a comma or semicolon, signaling a pause but not a conclusion
Antecedent phrase endings commonly use half cadences to set up the consequent phrase's full resolution

Phrygian Half Cadence

$iv^6 \rightarrow V$ in minor keys—the distinctive half-step bass motion ( $\hat{6} \rightarrow \hat{5}$ ) creates a characteristic sound
Modal flavor derives from the Phrygian scale's lowered second degree, giving this cadence an archaic or exotic quality
Baroque convention makes this especially common in slow movements and works in minor mode

Compare: Standard HC vs. Phrygian HC—both end on $V$ , but the Phrygian type specifically requires the $iv^6$ approach chord with its distinctive stepwise bass descent. If you hear a half cadence in minor with a particularly "old" or "Spanish" sound, check for that $iv^6$ chord.

Cadences That Subvert Expectations

These cadences exploit the listener's anticipation of resolution, redirecting harmonic motion to create surprise or extend phrases. The dominant chord sets up an expectation of tonic arrival that the composer deliberately thwarts.

Deceptive Cadence

$V \rightarrow vi$ (or $V \rightarrow VI$ in minor)—the dominant resolves to the submediant instead of the expected tonic
Shared pitch classes between $I$ and $vi$ (they share two common tones) allow smooth voice leading while denying full resolution
Phrase extension tool lets composers prolong a section, add emotional weight, or introduce new thematic material

Interrupted Cadence

$V$ resolves to an unexpected chord—often $vi$ , making this term largely synonymous with deceptive cadence in many traditions
Disrupted expectation creates a moment of surprise that can heighten emotional intensity or dramatic effect
Analytical terminology varies by region and pedagogical tradition, so clarify definitions with your instructor

Compare: Deceptive vs. Interrupted Cadence—in most American theory pedagogy, these terms describe the same $V \rightarrow vi$ motion. Some traditions distinguish them based on context or continuation. Know your course's preferred terminology.

Evaded Cadence

Cadential setup abandoned—the progression approaches a cadence but veers away before dominant resolution occurs
Ambiguity and prolongation result from avoiding the expected harmonic goal entirely
Differs from deceptive cadence because the $V$ chord itself may be avoided or weakened, not just its resolution

Quick Reference Table

Concept	Best Examples
Strongest resolution	PAC
Weaker authentic resolution	IAC, Plagal Cadence
Pause on dominant	Half Cadence, Phrygian Half Cadence
Surprise/subverted expectation	Deceptive Cadence, Interrupted Cadence
Prolongation through avoidance	Evaded Cadence
$V \rightarrow I$ motion	PAC, IAC
$IV \rightarrow I$ motion	Plagal Cadence
Minor-key specialty	Phrygian Half Cadence

Self-Check Questions

Both PAC and IAC involve $V \rightarrow I$ motion—what specific conditions must be met for a cadence to qualify as "perfect" rather than "imperfect"?
You're analyzing a phrase that ends on a $V$ chord with the bass moving by step from $\hat{6}$ to $\hat{5}$ . What type of cadence is this, and what chord precedes the dominant?
Compare and contrast the deceptive cadence and the evaded cadence. How do they each manipulate listener expectations, and at what point in the cadential process does each "break the rules"?
A hymn ends with a $IV \rightarrow I$ progression after a PAC has already occurred. What is this cadence called, and why might a composer add it after the piece has already achieved full resolution?
If an FRQ asks you to explain how a composer extends a phrase beyond its expected length, which cadence types would best support your argument, and why?