Cadences – tension and resolution
A cadence is the harmonic punctuation of music: the turn that closes a phrase or leaves it open. Here the diatonic chords become real closes – in major and in minor.
Harmonic punctuation
A cadence is a fixed chord progression at the end of a phrase that creates a certain degree of closure – from a definitive full stop to an open comma. The engine behind it is the tension curve of the three functions: the dominant builds tension, the tonic releases it. The underlying harmonic arc is:
The four standard cadences all derive from this arc. What matters each time is the last step – and whether it fulfils the expectation or deliberately disappoints it.
The perfect cadence: V–I
The authentic cadence moves from the dominant to the tonic – V–I in major, V–i in minor. It is the strongest, most final close; the dominant’s leading tone pulls inevitably into the root of the tonic.
The “Amen” cadence: IV–I
The plagal cadence runs from the subdominant to the tonic – IV–I in major, iv–i in minor. It sounds softer and more solemn than the authentic cadence, without the urgent leading tone. Because it so often ends hymns, it is also called the “Amen” cadence.
The open ending: …–V
The half cadence ends on the dominant instead of the tonic. It closes nothing; it leaves the phrase open like a question mark – a breath mid-sentence that expects an answer. Often as IV–V, ii–V or I–V.
Notice how the close stays suspended – it “wants” to continue.
The disappointed expectation: V–vi
In the deceptive cadence (also interrupted cadence) the dominant builds all the tension for an authentic close – but instead of the expected tonic, its substitute follows. In major that is V–vi, in minor V–VI. A subtle but important point: the sixth degree in minor is a major chord (in A minor, F major, VI), whereas in major it is minor (vi).
The deceptive cadence keeps a phrase moving, because the ear is still waiting for the true resolution – a favourite device for delaying a sense of arrival.
Bach: closing cadence of “O Sacred Head, Now Wounded”
What does all this sound like in real music? Here is the four-part closing turn of the chorale “O Sacred Head, Now Wounded” (“O Haupt voll Blut und Wunden”; melody by Hans Leo Hassler, set in four parts by Johann Sebastian Bach, † 1750 – public domain). The chorale is in a minor key, yet it ends on a major chord: the Picardy third.
Closing cadence in D minor: subdominant (iv) → dominant (V) → tonic (I). The final chord carries the raised F♯ instead of F – the Picardy third.
The analysis: a perfect authentic cadence V–I, preceded by the subdominant. Because the piece is in minor, an ordinary close would be V–i (lower-case i, the minor tonic). Bach, however, raises the third of the final chord to a major third – D minor turns into a radiant D major. That is exactly why the label here is V–I with an upper-case I. This Picardy third (French tierce de Picardie) gives minor pieces an unexpectedly bright, reconciling ending – a hallmark of Baroque music.
FAQ on cadences
What separates the authentic and plagal cadence?
The authentic cadence (V–I) comes from the dominant and closes with full force, because the leading tone pulls into the tonic. The plagal cadence (IV–I) comes from the subdominant, has no leading tone and therefore sounds softer – the typical “Amen” effect.
Why is it called a “deceptive” cadence?
Because it fools the ear: the dominant announces an authentic close, but instead of the tonic its substitute arrives (vi in major, VI in minor). The expected resolution is withheld – the phrase carries on.
What is a Picardy third?
A minor piece that ends on a major chord, by raising the third of the final chord. Instead of D minor you hear D major. Very common in Baroque music; it gives the close a bright, reconciling character.
Does minor really need different numbering?
Yes, in the details. Tonic and subdominant are minor (i, iv), while the sixth degree is a major chord (VI). And for an effective close the dominant is raised from v (minor) to V (major) – harmonic minor.