Deceptive cadence
In a deceptive cadence the dominant builds up all the tension for an authentic cadence, but instead of the tonic its substitute sounds. In major that is the sequence V–vi, in minor V–VI. The ear is disappointed, the phrase goes on.
- Sequence in major
- V–vi, in C major G–Am
- Sequence in minor
- V–VI, in A minor E–F
- Effect
- disappointed expectation, keeps the phrase moving
- Also called
- interrupted cadence
The disappointed expectation
The page Cadences describes the deceptive cadence as a sequence in which the dominant builds up all the tension for an authentic cadence. Instead of the expected tonic its substitute follows. In major that is V–vi, in minor V–VI. A fine but important point: the sixth degree in minor is a major chord, in A minor F major, whereas in major it is a minor chord (vi).
The deceptive cadence keeps a phrase moving, because the ear is still waiting for the real resolution. The page calls it a popular means of delaying the closing effect. The name comes from that: it deceives the ear. The dominant announces an authentic cadence, but instead of the tonic its substitute sounds.
Why the substitute fits
The sixth degree is the relative key of the tonic and shares two of three chord notes with it. The article One pattern predicts the chords of almost any pop song describes this for major: the sixth degree is the minor relative of the first and shares two of three notes with it, so it can stand in for the tonic without losing the connection, but brings a different colour. That is exactly what makes the deceptive cadence credible: it sounds like home, but is not quite.
In C major G leads to Am: the bass goes from G to A, and the upper voices move closely, in the listening example roughly B to A and D to C. The chord Am contains C and E like the tonic C, only the A instead of G is new.
| Cadence | Sequence | Effect according to the Cadences page |
|---|---|---|
| Authentic cadence | V–I | strongest, most final ending, the leading tone pulls into the tonic |
| Plagal cadence | IV–I | softer, more solemn, the “Amen cadence” |
| Half cadence | ends on V | open ending, like a question mark |
| Deceptive cadence | V–vi, in minor V–VI | disappointed expectation, the phrase goes on |
The deceptive cadence compared
The table shows the four closing formulas of the Cadences page side by side. The authentic cadence is the strongest, most final ending. The plagal cadence comes from the subdominant and sounds softer and more solemn. The half cadence ends on the dominant and leaves the phrase open as if with a question mark. The deceptive cadence lies in between: it looks like an authentic cadence but ends somewhere else.
Common mistakes
- Reading the deceptive cadence in minor like in major: In minor V is followed by the sixth degree as a major chord (V–VI), in major as a minor chord (V–vi).
- Taking every deviation for a deceptive cadence: It is the sequence V–vi (or V–VI), not every unexpected continuation.
- Playing the substitute as the ending: If you stop after a deceptive cadence, you leave the piece open.
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Related terms
Full close (authentic cadence)Plagal cadenceHalf cadenceCadenceDominantTonicDiatonic chordRelative keyPicardy third
Editor: Maik Krohm · reviewed on 3 October 2026
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