Cadences

* A wide variety of composers and styles are listed here
Perfect Authentic Cadences (PAC)
pdfmp3Ponce de Leon, Esteban, (Friar) Vendi, Venid Deidades, Opera Serenata, VIII Coro
(Aria Alegre) mm.7-8 (recording link)
pdfmp3Martines, Maria Anna, Sonata in E major, mvt. II. Andante, mm.62-63
(contains suspensions and cad6/4) (recording link)
pdfmp3Martines, Maria Anna, Sonata in E major, mvt. III. Allegro, mm.83-86
(recording link)
pdfmp3Martines, Maria Anna, Sonata in A major, mvt. I. Allegro, mm. 41-42
pdfmp3Bologne, Joseph, Harpsichord Quartet, mvt. II Rondo, mm.1-8
(recording link)
Imperfect Authentic Cadences (IAC)
pdfmp3Ponce de Leon, Esteban, (Friar) Vendi, Venid Deidades, Opera Serenata, IX Aria,
mm.15-17 (recording link)
pdfmp3Rusca, Claudia Francesca, Canzon Prima ‘La Borromea’ for viol quartet, mm.1-5
pdfmp3Rusca, Claudia Francesca, Canzon Prima ‘La Borromea’ for viol quartet, mm.47-49
pdfmp3Martines, Maria Anna, Sonata in E major, mvt. I. Allegro, mm.1-4
pdfmp3Martines, Maria Anna, Sonata in A major, mvt. I. Allegro, mm.1-3
(recording link)
pdfmp3Bologne, Joseph, Sonata No. 2 in A major for piano and violin, mvt. I Allegro moderato, mm. 135-137
pdfmp3Bach, J.S., Chorale 46, Vom Himmel hoch, da kom’ich her, mm.1-2
(viio6/5 to I) (recording link)
pdfmp3Bon, Anna, Six Flute Sonatas, No. 1 Adagio, mm.1-2
Half Cadences (HC)
pdfmp3Bologne, Joseph, Harpsichord Quartet, mvt. I Allegro, mm.1-4
pdfmp3Bologne, Joseph, Sonata No. 2 in A major for piano and violin, mvt. I Allegro moderato, mm. 10-12
pdfmp3Strozzi, Barbara, Sonetto proemio dell’opera, two soprano and continuo, mm.1-5
Phrygian Half Cadences (PHC)
pdfmp3Castellanos, Rafael Antonio, Vaja de Jácara amigos for two violins, voice, and continuo, mm.1-4
pdfmp3Bach, J.S., Chorale 25, Wo soll ich fliehen hin, mm.1-2
(recording link)
pdfmp3Bach, J.S., Chorale 47 Vater unser im Himmelreich, mm.2-4
(recording link)
Tonicized Half Cadences (THC)
pdflinkPonce de Leon, Esteban, (Friar) Vendi, Venid Deidades, Opera Serenata, I Arioso mm.1-8
THC appears in m.5
pdfmp3Ponce de Leon, Esteban, (Friar) Vendi, Venid Deidades, Opera Serenata, VI Minuet mm.1-8
THC appears in m.4-5
pdfmp3Ponce de Leon, Esteban, (Friar) Vendi, Venid Deidades, Opera Serenata, VII Aria mm.1-8
THC appears in m.3-4
pdfmp3Bologne, Joseph, Harpsichord Quartet, mvt. II Rondo, mm. 48-59
pdfmp3Bach, J.S., Chorale 35, Gott des Himmels und der Erden, mm1-4
Plagal Cadences (PC)
pdflinkRed is the Rose, traditional Irish folk song, mm.11-12
pdfmp3Loch Lomond, traditional Scottish folk song, occurs in antecedent phrases throughout song,
(this example is mm.1-8)
pdfmp3Sheeran, ED, Galway Girl, mm.1-8 Plagal HC m.12 PC
pdfmp3Wild Mountain Thyme, traditional Scottish folk song, mm.9-10 and mm.17-18
(Hexatonic composition)
pdfmp3Bach, J.S. BWV 386, Nun danket alle Gott, mm.1-4, (plagal cadence occurs in mm.1-2)
Deceptive Cadences (DC)
I’m still looking.
Modal Cadences (MC)
(VII to i)
pdfmp3Bingen, Hildegard of, Ave Generosa, vocal chant/hymn
(VII to i modal cadence)
pdfmp3Shore, Howard, Evenstar, The Lord of the Rings: The Two Towers, mm.5-8
(VII to i modal cadence)
pdflinkThe Rambling Sailor, Traditional English Folk Song, collected and arranged by Cecil J. Sharp
(Mixolydian example) (another version)
pdflinkAs I Walked Through the Meadows, Traditional English Folk Song, collected and arranged by Cecil J. Sharp
pdfmp3My Mother Told Me, Traditional Norse, arranged by Marie-Éve Mainguy
Modal Half Step Cadence (bII to i)
pdfmp3Djawadi, Ramin, Westworld: Main Title Theme, Piano arr. Patrik Pietschmann, mm.7-10
(bII to i Phrygian cadence)
Modal HC (progressions stopping on VII or bVII
pdfmp3The Parting Glass, traditional Irish folk song
(VII used as a type of HC) (minor v – i used in consequent phrases). (VI to i in last phrase)
pdflinkMussorgsky, Modest, Le Polisson (The Ragamuffin) for piano, Allegro, mm.1-6
Multiple modal cadences
pdfmp3Bruton Town, Traditional English Folk Song, collected and arranged by Cecil J. Sharp
multiple modal cadences (Dorian example, VII – IV, ii – v, VII – i6) (recording link) (sometimes also known
as Burton Town
pdfmp3Robin Hood and the Tanner, Traditional English Folk Song, collected and arranged by Cecil J. Sharp
mm.1-22 modal cadences (minor v as a half cadence and VII – i) (Dorian example) (recording link)
pdfmp3St Patrick´s An dro, Traditional Breton Music (minor v as HC and VII – i)
Plagal Half Cadence (PlagalHC) (defined here as any chord progressing to iv or IV marking the end of a phrase.)

Examples will be used in my upcoming article “Revisiting the Plagal Half Cadence”
Commercial / Pop Examples (PlagalHC)
pdflinkBush, Kate, Running Up That Hill, Chorus section 0:50
pdfmp3Zimmer, Hans, Time from Inception, mm. 17-24
(i – v – VII – IV) (A dorian) (Example of phrase groups / phrase chain)
pdflinkKilcher, Jewel, Who Will Save Your Soul, mm.5-16 (occurs every four measures)
(i – III – VII – IV) (A dorian) (example of phrase groups / phrase chain)
pdflinkOrzabal, Roland, Mad World, piano arrangement, mm.1-8
(i – III – VII – IV) (F dorian) (example of phrase groups / phrase chain)
pdfmp3Korzeniowski, Abel, Letters – from the movie W.E. for piano, mm.1-8
First phrase (i – III maj.4/3 – IV6 – iv6) Second phrase (i – III6/4 – iv – iv6)
(example of phrase groups / phrase chain)
pdfmp3Swinscoe, Jason and Dominic Peter Smith (The Cinematic Orchestra) Arrival of the Birds, piano arrangment
mm.30-37 these are the first two of four consecutive plagal half cadences (i – III – iv – iv)
Folk Examples (PlagalHC)
pdflinkRed is the Rose, traditional Irish folk song, mm.1-4 (but occurs throughout the song)
Classical Examples (PlagalHC)
pdfmp3Bach, J.S. BWV 41 Chorale 11, Jesu, nun sei gepreiset, mm.1-4 (modulates to F in the 2nd measure)
pdfmp3Mozart, Wolfgang Amadeus, Symphony No.39 in Eb Major, K543, mvt. III Menuetto, Allegretto, mm.1-8
(Plagal half cadence occurs in m. 4) (I – IV) (the full period is shown here)
pdfmp3Rachmaninov, Sergei, Piano Concerto Op.18, No. 2, mvt. I Moderato, arr. for two pianos, mm.15-18
(i – ivhd6/5 – III6 – Ger+6 of i – VI6/4 – V6/5 – iv – iv6) (The solo piano is a bit clearer in this recording link)
Tonicized Plagal Half Cadence (TPlag.HC)
pdfmp3Bach, J.S., Chorale 27, Es spricht der Unweisen Mund, mm.1-4
(First phrase is V7/IV to IV)
pdfmp3Mozart, Wolfgang Amadeus, Sonata in C Major, K330, mvt. II Andante cantabile, pickup to mm.9-20 (occurs in m.16)
(Ellis B. Kohs labels this passage (mm.13-16) as an example of a non-phrase)