Nathaniel School of Music

10 Types of Cadences Explained: Theory, Ear Training and Piano

A cadence is a short chord progression of two to four chords, such as V–I (authentic), IV–I (plagal), V–vi (deceptive) or i–bVII–bVI–V (Andalusian), used to end, extend or redirect a musical phrase.

Video lesson by Jason Zac · Intermediate · 25 min

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Key points

What this lesson teaches

In this lesson Jason Zac walks through ten cadences on the piano, all demonstrated in the key of G. A cadence here means a very small chord progression, often just two chords, sometimes three or four. The lesson is aimed at students who already know their notes, major and minor chords and intervals, so it sits a step beyond the absolute beginner stage.

The aim is not only to name each cadence but to hear it, find it on the keyboard and use it to inspire melodies and structure songs.

The three classic two-chord cadences

1. Authentic cadence (V–I)

Play the major chord on the fifth degree and resolve to the tonic. In G major that is D major (D F# A) to G major (G B D). You can add the dominant seventh, C, to make D7 (D F# A C). Place the C anywhere: on top, in the bass or inside an inversion.

2. Plagal cadence (IV–I)

The fourth chord going to the tonic: C major to G major. It is also called the Amen cadence, because the Amen at the end of a church hymn is sung over these two chords. Gospel songs and rock ballads use it a lot, and Let It Be is one example of it at the end of a cycle.

3. Minor plagal cadence (iv–I)

Make the fourth chord minor: C minor (C Eb G) to G major. It is a beautiful sound on its own. You can also go C major, then C minor, then back to G, or colour the C minor with a sixth to make C minor 6 (C Eb G A).

4. Deceptive cadence (V–vi)

The ear expects D or D7 to resolve to G, but instead you move to the six minor, E minor, the relative minor of G. E minor shares two notes (G and B) with G major, so it still works. It is useful for moving between sections, such as from a chorus into a contrasting bridge.

5. Half cadence (IV–V)

Four going to five, C to D, leaving the phrase open. IV–V–I (C–D–G) is also common.

Three-chord cadences

6. Major ii–V–I

Put the two chord before the authentic V–I: A minor – D major – G major. This trio is so central to jazz that it works as a package.

7. Minor ii–V–i

Use the harmonic minor scale. In G minor the two chord is diminished (A C Eb) or A minor 7 flat 5 (A C Eb G), the five is D7, which can take a flat nine (Eb), and you end on G minor (G Bb D).

8. Epic cadence (bVI–bVII–I)

Jason Zac's own name for an all-major move that lifts a song: Eb major – F major – G major. It shines after a section of ordinary diatonic chords.

9. Modern pop or EDM cadence (bVI–bVII–i)

The same move, but ending on the minor tonic: Eb – F – G minor. It is heard often in modern pop and EDM.

A four-chord cadence

10. Andalusian cadence (i–bVII–bVI–V)

G minor – F major – Eb major – D major. The D pulls back to G minor, so it loops naturally. It is common in flamenco and Spanish music and is heard in Hit the Road Jack.

Using cadences to build songs

Instead of looping one progression for a whole section, string cadences together. For example, use authentic in bars one and two, deceptive in bar three, then plagal in bar four. Match them to the lyrics: a deceptive cadence suits a painful or unsettled line, and an authentic cadence brings the listener home. Because cadences are short, they also work well for adding chords to Indian or Eastern melodies without disturbing the tune.

How to practise

Questions about this lesson

What is the difference between an authentic and a deceptive cadence?

Both start on the V chord. An authentic cadence resolves to the I chord (D to G in G major), while a deceptive cadence moves to the vi minor chord instead (D to E minor), surprising the ear.

Why is the plagal cadence called the Amen cadence?

The IV–I plagal cadence is sung over the Amen at the end of many church hymns, so whichever vocal part you sing, you are singing its chord tones.

What chords are in the Andalusian cadence in G minor?

G minor, F major, Eb major and D major (i–bVII–bVI–V). The final D major pulls back to G minor, so the pattern loops easily.

How can cadences help with songwriting?

You can join short cadences together, such as authentic, authentic, deceptive, then plagal across four bars, and choose each one to suit the mood of the lyric line.

Practise it

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