Cadences
Functional Harmony
From about 1680 until well into the 19th Century (and in much later music
as well) harmony was functional – that is, an important function or
purpose of the chord progressions used was to establish and maintain a
key.
We can divide individual chords into three main groups according to their
functions:
The Tonic Group
Chord I
Chord vi.
e.g.
A
C
C
E
E
G
Chord I has the tonic of the scale as its root and is normally the only
chord considered stable enough for a whole piece to end on.
The Dominant Group
Chord V
Chord V7
Chord vii
e.g.
G
G
B
B
B
D
D
D
F
F
All of these chords contain note 7 (in this case B), which has a powerful
tendency to rise to 8, hence the name ‘leading note’. It quite literally
leads back to the upper tonic.
The Subdominant Group
Chord IV
Chord ii
Chord ii7
e.g.
D
D
F
F
F
A
A
A
C
C
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Activity 1
Using the above layout as a guide, work out the tonic group, dominant
group and subdominant groups chords for the following keys.
a) G Major
Tonic Group
Roman Numeral
I
Chord Name
G Major
Notes
G B D
Chord Name
Notes
Chord Name
Notes
Chord Name
Eb Major
Notes
Eb G Bb
Chord Name
Notes
Chord Name
Notes
Dominant Group
Roman Numeral
Subdominant Group
Roman Numeral
b) Eb Major
Tonic Group
Roman Numeral
I
Dominant Group
Roman Numeral
Subdominant Group
Roman Numeral
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The Perfect Cadence
When a phrase ends with a V-I chord progression this is called a perfect
cadence. In functional harmony it is by far the most widely-used type of
cadence.
Activity 2
Mark examples of the progression V-I in the following extract:
Approaching a Perfect Cadence
Look at bars 3-4 of the above extract. You will see that the V-I perfect
cadence is preceded by chord iib, which is one of the subdominant group
of chords. In fact, any of the chords from that group makes an effective
approach to a perfect cadence.
Many phrases that conclude with a perfect cadence end with the
following three chords:
 A chord from the subdominant group, then
 A chord from the dominant group (usually V or V7), and finally
 Chord I from the tonic group.
Activity 3
Identify and label the chords marked with * in the following extracts:
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Activity 4
Here are the final phrases from four Christmas carols, all ending on the
tonic. Name the key of each and add chord symbols at the places marked
*, choosing an approach chord from the subdominant group followed by a
perfect cadence in every case:
The Cadential 6/4
The perfect cadence can also be approached from chord Ic. Although this
is a very common approach, Ic is not really a fully independent chord but
more of a decoration of chord V, with which it shares the same bass note:
C Major
Ic =
V =
G
G
C
B
E
D
For that reason, Ic is often used between an approach chord from the
subdominant group and the actual perfect cadence, in such patterns as
IV – Ic – V7 – I.
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In the example below you can see that:
 E in chord Ic moves down by step to D in chord V
 C in chord Ic moves down by step to B in chord V
 Both chords have G in the bass.
In terms of intervals above the bass, we hear a 6th falling to a 5th, and a
4th falling to a 3rd. This 6/4 to 5/3 movement is the essence of the Ic-V
progression. When chord Ic is used in this cadential position it is often
called the cadential 6/4.
Activity 5
Add notes on the treble stave of these two passages to complete chords
Ic and V in the places indicated. Each chord requires two more notes.
Check that the notes in each of your Ic chords fall by step to the
following V chord and that the interval between them and the bass note
(ignore the octave) is 6/4 followed by 5/3. (See the above example for
help).
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Interrupted Cadences
If you replace chord I in a perfect cadence with some other chord, you
create an interrupted cadence – so called because it the expected
progress of the music to the tonic. It is sometimes used as a ‘delaying
tactic’, creating the expectation that a perfect cadence will soon follow.
Play the following example (in pairs if necessary) and listen how the
interrupted cadence affects the expected perfect cadence to the tonic:
Interrupted cadences frequently end with chord vi, as here but any chord
that creates an effective surprise (e.g. IVb) is possible. In a minor key
chord VI is major, which makes the effect of an interrupted cadence
more arresting.
In general, remember that interrupted cadences are far less
common than perfect cadences.
Exercise 6a
In the following extract, label the chords and fill in the missing treble
note and bass note to end first with chord I, then chord vi.
Play each example.
#
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Exercise 6b
Using the same piece but transposed to G minor repeat the task above
but this time fill in the notes to end on first chord VI and then a
diminished 7th chord. Play each example.
Imperfect Cadences
The progression V-I can be used almost anywhere – at the beginning,
middle or end of a phrase. At the end of a phrase it is called an imperfect
cadence.
Imperfect cadences must end with chord V, but they do not need to have
chord I as the first chord. Some examples of imperfect cadences include:
ii-V
iib- V
ii7b – V.
Plagal Cadences
The subdominant chord (IV) is widely used before and after chord I.
Chords IV – I, when used at the end of a phrase, make a plagal cadence.
A plagal cadence can end a phrase because its final chord is I but is used
far less frequently than the perfect cadence.
Year ago it was common in church to sing ‘Amen’ to a plagal cadence at the
end of a hymn and for this reason, people still occasionally call it an ‘Amen’
cadence.
Cadence Summary




Perfect: V(7) – I
Imperfect: and chord to V
Interrupted: V(7) to any chord except I (often V(7) – vi)
Plagal: IV – I
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Exercise 7 – Last one I promise!
Play each of the following extracts. In each case identify the key and the
chords marked *, and identify the cadences formed by these chords.
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