Phrygian cadence
The Phrygian cadence is a closing formula in minor: the minor subdominant in first inversion (iv⁶), followed by the dominant. In the bass a semitone falls, in A minor from F to E. That recalls the Phrygian semitone step above the finalis, hence the name.
- Sequence
- iv⁶ – V (in minor)
- In A minor
- D minor with F in the bass, then E major
- Bass
- falling semitone F → E
- Effect
- half cadence, open
A falling semitone in the bass
In A minor the chords Dm and E form the subdominant and the dominant. If the subdominant is in first inversion, the F lies in the bass, and the bass falls from F to E. This semitone step downwards is the mark of the Phrygian cadence. It recalls the Phrygian mode, in which the semitone lies directly above the finalis, only heard here the other way round: the E is the target, the F leads down.
Phrygian cadence in A minor: chords (right hand)
Am – Dm/F – E. The second chord (marked) is D minor with F in the bass; here the upper voices are D–A–D. The dominant E major with G♯ releases the tension as a half cadence.
The bass to go with it: F falls to E
The bass goes A – F – E. The step F–E is a semitone downwards, a similar motion to the Phrygian mode (second degree to first).
In the glossary: Half cadence · Phrygian · Six-three chord
Open close
The formula ends on the dominant. It acts like a half cadence and leaves the music open. That is why it often appears at the end of a slow movement or as a link to a following movement. In the Baroque it belongs among the typical closing formulas of slow movements.
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Related terms
Half cadenceCadencePhrygianSix-three chordSubdominantDominantNeapolitan sixth chordPlagal cadence
Editor: Maik Krohm · reviewed on 3 October 2026
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