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Chords & Harmony

Deceptive Cadence

Definition

A deceptive cadence is a progression in which the dominant (V) moves to a chord other than the expected tonic, most often vi, as in G to A minor in C major. It postpones the ending of the phrase.

A deceptive cadence is a progression in which the dominant chord moves somewhere other than the expected tonic. By far the most common version is V–vi: in C major, G (or G7) to A minor. The ear hears the dominant, expects C, and gets A minor instead. The phrase cannot end there, so the music has to continue, usually to a stronger cadence a few bars later.

Grand staff in 4/4, four bars. Right hand: F4 A4 C5 then D4 F4 B4; whole-note C4 E4 C5; D4 F4 A4 then D4 F4 B4; whole-note C4 E4 C5. Left hand: F2, G2, A2, F2, G2, C3. Chord symbols F, G7, Am, Dm/F, G7, C; Roman numerals IV V7 vi, ii6 V7 I; labels deceptive and authentic.
The first G7 moves to A minor (vi), a deceptive cadence, so the phrase tries again: ii6 – V7 – I closes it with an authentic cadence. Both times B rises to C and F falls to E; only the bass differs.

Why V–vi works

vi (A–C–E) shares two notes with I (C–E–G), so it can stand in for the tonic without sounding wrong. The leading tone still rises to C, and the seventh of V7 still falls to E, exactly as in an authentic cadence. Only the bass changes course: instead of moving to C, it rises a step to A. In four-part writing the third of vi (C) is usually doubled, because both the leading tone and another voice move to it.

What it is for

  • Extending a phrase. A deceptive cadence pushes the ending further away, so the final authentic cadence feels even more welcome.
  • Surprise and color. A sudden turn to the minor vi can sound tender, sad or dramatic, depending on the music around it.
  • Keeping a song moving. In popular music, V–vi can lead into the next section or keep a loop going instead of closing it.

Other deceptive resolutions

Any unexpected chord after V can play the same role, such as IV6 or, in a major key, the borrowed ♭VI (A♭ major in C major), which gives a darker, more dramatic surprise. In a minor key the usual deceptive cadence is V–VI (E to F major in A minor). See borrowed chord and harmonic function.

Practice with Cadences, Identify the cadences and Ear Training: Cadences & Progressions.

Common questions

Why is it called a deceptive cadence?

Because the dominant leads the listener to expect the tonic chord and the music moves somewhere else. British books call it an interrupted cadence.

Is V–vi always a deceptive cadence?

Only at the end of a phrase, where the tonic is expected. In the middle of a phrase, V–vi is just a progression.

Practice it: free worksheets