Cadence Types

Overview
Cadences define the end of phrases. An important thing to note is that the term phrase here has a
specifically harmonic meaning. Often, the term phrase is used to mean a gesture, a group of notes
placed together within a single slur, a melody that is joined by a single breath or bow stroke. But when
talking about cadences, a phrase is defined harmonically, rather than melodically.
There are a variety of cadence types, but they can be categorized as either inconclusive or conclusive,
that is, whether or not a work could end with the cadence. Conclusive cadences are used to mark
closures of sections or movements. Inconclusive cadences are used to delineate phrases and allow
subsequent phrases to be grouped with it. They are usually not used to delineate sections or end of
movements.

Half Cadence (H.C.) and Phrygian Half Cadence

The half cadence is an inconclusive cadence that usually ends on a V chord. It is usually preceded by a
tonic chord or a subdominant chord of some type.
A variant of the HC is the phrygian half cadence. This is distinguished by a bass movement from the
lowered 6th scale degree to the 5th scale degree. One might see, for instance, the progression iv6-V (or
the substitute of +6-V) to achieve this bass movement. The name derives from the Phrygian mode,
which is unique in that there is a semitone rather than a whole tone between the 1st and 2nd scale
degrees. (All other church modes - excluding the 19th century addition of Locrian - have a whole step
between the 1st and 2nd scale degrees.)

Perfect Authentic Cadence (P.A.C.) and Imperfect Authentic Cadences (I.A.C.)

The perfect authentic cadence is a conclusive cadence. It is often used at the ends of groups of phrases,
sections, and movements to articulate a sense of closure. A perfect authentic cadence must have the
following things:
1. A V-I (or V7-I) harmonic progression wherein both the V and I chords are in root position;
2. The tonic note in the melody when the I chord arrives.

It is frequently the case that V-I progressions occur at cadences but one or both of the chords are in
inversion, or that the melody note on the I chord is the 3rd or 5th scale degree, or that a viio chord is
used in substitution for the V chord. In any of these instances, the cadence is not deemed a perfect
authentic cadence, but instead an imperfect authentic cadence. Whereas the PAC is a conclusive
cadence, the IAC is not. For example, it would be uncommon to see a movement finished with an IAC.

Deceptive Cadence
The deceptive cadence occurs when a deceptive progression of V-vi (or V-VI in minor) is placed at a
cadence. This is a very inconclusive cadence. In fact, it usually requires immediate action to get the
harmonic progression back on track. The deceptive cadence is often found within a phrase rather than
just at the end because its instability causes an extension that terminates in a cadence with more
conclusive qualities, like an IAC or PAC to be added to the phrase.

Plagal Cadence
Plagal cadences are uncommonly seen in Classical era music. They are often placed in a phrase
extension following a more conclusive cadence. They are often used as a reference to a religious
context, since the plagal progression of IV-I is commonly used in hymns to sing "Amen."