Modest Archive



Authentic cadences

A cadence from V to I. Typically with V7 and preceeding the V a I64 can be used with good effect.

Name Chords Comment
Perfect authentic cadence V → I Chords are in root position and the tonic is in the highest voice of the final chord.
Root position imperfect authentic cadence V → I Perfect authentic cadence but the highest voice is not the tonic.
Inverted imperfect authentic cadence V → I Perfect authentic cadence but one or both cords are inverted.
Leading-tone imperfect authentic cadence vii° → I V chord is replaced with vii°.
Evaded cadence V42 → I6 Since the 7 in the base must fall with half-step the cadences ends unstably on I6.

Half cadences

A half cadence is any cadence ending on V. The half cadances are several and not all of them have names. This cadence is also know as imperfect cadence and calls for a continuation.

Name Chords Comment
II → V II is V of V, making it an authentic cadence in the dominant.
ii → V Similar to the one above.
vi → V
IV → V
I → V A plagal cadence in the dominant.
Phrygian half cadence vi6 → V Only in minor. For extra Renaissance feeling, preceed it with a v: v → vi6 → V.

Plagal cadences

Plagal cadence reaches I from IV.

Name Chords Comment
Plagal cadence IV → I Can be thought of as a I → V half cadence too.
Minor plagal cadence IV → iv → I Gives a nice and cheezy sound. Go here for the memes.


Name Chords Comment
iv → ♭VII7 → ♭III Evading minor plagal cadence and modulating to ♭III.