A cadence formed by moving from the dominant (V) to any chord other than I describes which cadence?

A cadence formed by moving from the dominant (V) to any chord other than I describes which cadence?

• A. Half Cadence
• B. Deceptive Cadence
• C. Perfect Authentic Cadence
• D. Plagal Cadence

Answer: (B)

A deceptive cadence centers on the dominant’s natural pull to resolve to the tonic, and the moment you land on a chord other than the tonic, you disrupt that expected resolution. In tonal harmony, V strongly wants to move to I, so when the progression from the dominant goes to something else—often a vi chord in major keys—the listener hears a twist rather than a conclusive finish. This creates a sense of surprise or deception, which is why it’s labeled a deceptive cadence. The common example V to VI in major keys keeps the motion strong but avoids the final tonic, lengthening the phrase. In minor keys the same idea applies when V resolves to a chord other than i. This differs from a half cadence, which ends on V; from a perfect authentic cadence, which resolves V to I; and from a plagal cadence, which goes IV to I.

A deceptive cadence centers on the dominant’s natural pull to resolve to the tonic, and the moment you land on a chord other than the tonic, you disrupt that expected resolution. In tonal harmony, V strongly wants to move to I, so when the progression from the dominant goes to something else—often a vi chord in major keys—the listener hears a twist rather than a conclusive finish. This creates a sense of surprise or deception, which is why it’s labeled a deceptive cadence. The common example V to VI in major keys keeps the motion strong but avoids the final tonic, lengthening the phrase. In minor keys the same idea applies when V resolves to a chord other than i. This differs from a half cadence, which ends on V; from a perfect authentic cadence, which resolves V to I; and from a plagal cadence, which goes IV to I.