Plagal cadence
The plagal cadence leads from the subdominant to the tonic: in major IV–I, in minor iv–i. It sounds softer and more solemn than the authentic cadence because it lacks the urgent leading tone. Because it is so often used at the end of hymns it is also called the Amen cadence.
- Progression in major
- IV – I
- Progression in minor
- iv – i
- In C major
- F – C
- In A minor
- Dm – Am
- Nickname
- Amen cadence
The soft close
The page Cadences describes the plagal cadence in its third section: it leads from the subdominant to the tonic, sounds softer and more solemn than the authentic cadence, without the urgent leading tone, and because of its frequent use at the end of hymns is also called the “Amen cadence”.
| Close | Major | Minor | Effect |
|---|---|---|---|
| Authentic cadence | V – I | V – i | strongest, final close; the leading tone pulls into the root |
| Plagal cadence | IV – I | iv – i | softer, more solemn, without the urgent leading tone |
The comparison with the authentic cadence is instructive: in the authentic cadence the leading tone of the dominant pulls into the root, in the plagal cadence that pull is missing.
Where it comes from
According to the page Diatonic chords the subdominant is degree IV: it leads away from the tonic and opens up the space. The plagal cadence simply reverses this movement and brings the opened space back home. In the basic course T – S – D – T the subdominant comes before the dominant; here the dominant is left out.
On the page A minor the plagal cadence Dm → Am appears as a softer variant without leading tone next to the authentic cadence E → Am.
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Related terms
Full close (authentic cadence)Half cadenceDeceptive cadenceCadenceSubdominantTonicPicardy third
Editor: Maik Krohm · reviewed on 3 October 2026
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