Deceptive cadence
Deceptive cadence V–vi: the dominant moves to the minor chord on degree 6 instead of the expected tonic
Theory
General info
- Name
- Deceptive cadence
- Cadence type
- Deceptive
- Sequence
- Vvi
- Chord count
- 2
Cadence composition in B
Construction logic
In a deceptive cadence, dominant V moves not to the expected tonic I but usually to vi. The vi and I triads share two notes: Am and C contain C and E in C major. The leading tone may still resolve to tonic, but the change of bass postpones harmonic closure.
How it sounds
The expected close is diverted, so the progression sounds surprising and requires continuation. In major, the move to minor vi also changes the modal colour.
Harmonic functions
- Why it works
- vi shares two tones with I: for example, Am and C contain C and E. The leading tone may rise to tonic, but the bass moves to scale degree 6 instead of 1, postponing the expected close.
Tensions & resolutions
Harmonic context
A deceptive cadence extends a phrase or section where V–I resolution was expected. It preserves part of the voice leading toward tonic but changes the bass and final harmonic function.
Variants & extensions
V–vi in major is the standard form; V–VI is related in minor. Other dominant diversions are possible, but their function and name depend on voice leading and formal context.
This cadence on guitar 🎸
See how Deceptive cadence looks on guitar.
Application in music
Genres & styles
Examples in songs
- In My LifeThe Beatles
- HelloAdele
- Don't Stop Believin'Journey
- Prelude in C minorChopin
- Someone Like YouAdele
Practice
- Play the V → vi cadence in B major: F# → G#m.
- Transpose it to other keys while preserving the scale-degree formula and voice leading.
- Stop before the final chord, then compare the unresolved and complete versions.
- Play with a metronome — start at 60 BPM and gradually reach 120.
- Alternate this cadence with other types to train your ear.
- Sing the bass notes of the chords to better feel the harmonic motion.