Main Types of Cadences

Some harmonic endings sound like a period. Others sound like a comma or a question. Some promise the expected resolution, then turn somewhere else at the last moment.

These differences are described by cadence types. Their names show where the harmony stops, which function leads to the final chord, and how strongly the ending is confirmed.

A cadence is a harmonic ending of a musical phrase or section. In this article, we will not explain the general idea of cadence from scratch. Instead, we will organize the main cadence types into one practical system.

Why cadence types matter

A cadence affects more than the final two chords. It defines the role of the whole phrase.

Understanding cadence types helps you:

• hear the boundaries of musical form;
• distinguish real closure from a temporary stop;
• choose an ending for a verse, chorus, or transition;
• manage the listener’s expectations;
• analyze harmony as directed motion, not as a list of chords.

For example, the progressions G7 → C and G7 → Am begin the same way. The first arrives at the expected tonic. The second avoids that expectation. They do different jobs, even though only the final chord changes.

Three features of a cadence

One cadence can be called complete, authentic, and perfect at the same time. These words do not compete with each other. Each one describes a different feature.

Function symbols:

• T — tonic function;
• S — subdominant function;
• D — dominant function.

In C major, these functions can be shown like this:

• T — the chord C;
• S — the chords F or Dm;
• D — the chords G or G7.

Complete cadence: the phrase arrives at the tonic

A complete cadence ends on tonic function. The tension resolves, and the phrase gets a point of stability.

A common version in C major:

• chords: Dm → G7 → C;
• scale degrees: ii → V7 → I;
• functions: S → D → T.

After the chord C, the music can continue, but it no longer demands immediate resolution.

A complete cadence does not have to contain all three functions. A short motion such as G7 → C, or V7 → I, also ends on the tonic and can close a phrase.

Half cadence: the phrase stops without resolution

A half cadence ends on an unstable function — usually the dominant, less often the subdominant. The phrase stops, but it does not get final stability.

A typical version in C major:

• chords: C → F → G;
• scale degrees: I → IV → V;
• functions: T → S → D.

The final chord G has dominant function and expects continuation. That is why a half cadence often ends the first of two connected phrases:

• first phrase: C → F → G;
• second phrase: C → F → G7 → C.

The first phrase sounds like a question. The second sounds like an answer.

Plagal half cadence

If a phrase stops on subdominant function, that ending can be called a plagal half cadence.

Example in C major:

• chords: C → G → F;
• scale degrees: I → V → IV;
• final function: S.

This version is less common than stopping on the dominant. Its main feature is the same: the final chord does not have tonic function, so the ending stays open.

Phrygian half cadence

In minor keys, a characteristic motion is iv⁶ → V. In A minor, this is Dm/F → E.

The bass moves down by a semitone from the lowered sixth degree to the fifth: ♭6 → 5. The final chord is still the dominant, so the cadence belongs to the half-cadence family. The word “Phrygian” points to the characteristic bass motion.

Interrupted cadence: the expected tonic does not arrive

An interrupted cadence begins like dominant-to-tonic motion, but another chord appears instead of the tonic.

The typical major-key version is V7 → vi. In C major, this is G7 → Am.

After G7, the ear expects C, but receives Am. Some tones resolve smoothly, but stable closure does not happen. After this turn, the phrase can continue, repeat the attempt at closure, or move into a new harmonic pattern.

In A minor, a typical version is E7 → F, or V7 → VI.

In American English theory, this is often called a deceptive cadence. In British and European contexts, interrupted cadence is also common. Both names describe the same basic effect: the expected tonic is avoided.

Authentic cadence: the dominant leads to the tonic

An authentic cadence is built on the motion from dominant function to tonic function: D → T.

In C major, the basic version is G7 → C, or V7 → I.

The dominant contains tones that point toward the tonic chord. That is why V7 → I sounds tense and clearly directed.

The subdominant often appears before the dominant:

• F → G7 → C, or IV → V7 → I;
• Dm → G7 → C, or ii → V7 → I.

In both cases, the path into the final tonic remains authentic, because the chord immediately before the tonic has dominant function.

Plagal cadence: the subdominant leads to the tonic

A plagal cadence is built on the motion from subdominant function to tonic function: S → T.

In C major, the basic version is F → C, or IV → I.

A plagal ending usually sounds softer than an authentic ending. It does not contain the same strong pull as G7 → C.

Compare:

• authentic path: G7 → C, or D → T;
• plagal path: F → C, or S → T.

Both cadences are complete because they end on the tonic. The difference is the path into the final chord.

Perfect cadence: the strongest ending

A perfect cadence creates the clearest sense of closure.

For a perfect complete authentic cadence, three conditions usually matter:

1. the dominant and tonic are in root position;
2. the bass of the final chord is the tonic;
3. the top voice ends on the first scale degree.

A strong beat and a stop in harmonic motion make the ending even more stable.

In C major, G7 → C, or V7 → I, is a good example if the bass arrives on C and the top voice also ends on C.

This kind of ending feels like a period at the end of a paragraph.

Imperfect cadence: closure without a final period

An imperfect cadence also arrives at the tonic, but at least one condition of strong closure is missing.

For example:

• the tonic chord is inverted;
• the top voice ends on the third or fifth of the tonic;
• the final chord arrives on a weak beat;
• the bass does not arrive on the tonic root.

Example: G7 → C/E, or V7 → I⁶.

The chord C/E has tonic function, but the note E in the bass weakens the sense of a final period. This kind of ending works well inside a section, when a phrase needs to close but the music still needs room to continue.

How cadence names combine

To name a cadence precisely, combine its features.

How to identify a cadence type

Do not start with the name. Analyze the ending step by step.

1. Find the phrase boundary

The motion G7 → C is not always a cadence. In the middle of continuous motion, it may simply be a harmonic turn.

A phrase ending can be marked by:

• a pause or long note;
• the completion of a melodic idea;
• a stop in harmonic rhythm;
• repetition or the beginning of an answering phrase;
• a change of texture or section.

2. Identify the final chord

• Tonic function means a complete cadence.
• Dominant or subdominant function means a half cadence.
• If another chord appears after the dominant instead of the expected tonic, it is an interrupted cadence.

3. Identify the path into the final chord

• D → T means an authentic cadence.
• S → T means a plagal cadence.

4. Check the voice placement

For a complete cadence, look at:

• which note is in the bass;
• which scale degree ends the melody;
• whether the final chord is in root position or inverted;
• which beat carries the final chord.

These details help distinguish a perfect ending from an imperfect one.

How to hear cadence types

First, listen not for chord names, but for the result of the motion.

Complete cadence

Ask: could the music end right now?

If the final chord sounds stable and does not demand continuation, the phrase has probably arrived at the tonic.

Half cadence

Ask: do I want to hear something after the final chord?

Stopping on the dominant usually leaves a clear expectation of resolution.

Interrupted cadence

Ask: did I expect a familiar ending that failed to arrive at the last moment?

An interrupted cadence is recognized not only by its final chord, but by the broken expectation.

Perfect and imperfect cadences

Both can end on the tonic. The difference is the degree of finality:

• a perfect cadence sounds like a period;
• an imperfect cadence sounds like the end of a sentence inside a larger section.

To hear that difference, follow the bass, the top voice, the strong beat, and the cadence’s place in the form.

How to see a cadence

When analyzing a cadence, write out the last two or three chords of the phrase. Then write the scale degrees and functions under them.

For example:

• chords: Dm → G7 → C;
• scale degrees: ii → V7 → I;
• functions: S → D → T.

This immediately shows:

• the final chord is tonic, so the cadence is complete;
• the chord before the tonic is dominant, so the cadence is authentic;
• the strength of the ending must be checked through bass, melody, and chord placement.

How to check cadences in Six Strings App

Open Harmony, choose C major, and go to the cadences section.

Compare four patterns:

• ii → V7 → I — complete authentic cadence;
• IV → I — complete plagal cadence;
• I → IV → V — half cadence;
• V7 → vi — interrupted cadence.

Then choose A minor and compare:

• iv → V7 → i;
• iv⁶ → V;
• V7 → VI.

Listen to the final chord and follow the functions:

• tonic closes the motion;
• dominant leaves expectation;
• the sixth degree after the dominant interrupts the expected resolution.

Then open the Song Builder and place different cadences at the end of a four-bar phrase. In the context of form, the differences are easier to hear than in isolated chord pairs.

Five-minute exercise

1. Play four endings

In C major:

1. C → F → G7 → C;
2. C → F → G;
3. C → F → C;
4. C → F → G7 → Am.

2. Answer after each version

• Does the final chord sound stable or tense?
• Could the phrase end on this chord?
• Did the expected resolution happen?
• Which function led into the ending?

3. Name the cadences

1. complete authentic;
2. half authentic;
3. complete plagal;
4. interrupted.

4. Compare the strength of the ending

Play G7 → C, with the note C in the bass and top voice of the final chord. Then play G7 → C/E.

The first version sounds more stable. The second keeps tonic function, but leaves more space for continuation.

Common mistakes

Calling any V7 → I pair a cadence. First find the phrase boundary. Without it, the motion may simply be a harmonic turn.

Thinking that a complete cadence must always be S → D → T. The main sign of a complete cadence is the ending on tonic function. A subdominant before the dominant is optional.

Confusing complete and perfect cadences. “Complete” describes where the motion ends. “Perfect” describes the strength of that ending.

Calling every V7 → I motion a perfect cadence. You need to check the bass, top voice, chord inversion, meter, and placement within the form.

Treating an imperfect cadence as a mistake. It closes a phrase without creating a final period. This is useful inside a verse, period, or larger section.

Confusing an interrupted cadence with modulation. The chord vi or VI can replace the expected tonic without becoming the center of a new key.

Identifying the type only from Roman numerals. A cadence is created not only by chords, but also by melody, bass, meter, and the pattern’s position inside the form.

What to study next

• What Is a Cadence in Music? — what a cadence closes and how it works inside musical form.
• Tonic, Subdominant, and Dominant — the functions behind the main cadence types.

Short summary

Cadence types describe three sides of a harmonic ending:

• complete, half, or interrupted — where the motion stopped;
• authentic or plagal — which function led into the ending;
• perfect or imperfect — how strongly the ending was confirmed.

First find the phrase boundary and the final chord. Then identify the function of the penultimate chord and check the bass, melody, and meter. This turns a long list of terms into a clear method of analysis.