How do chords move in functional progressions, and how do cadences shape phrases?
Explain functional harmonic progression and voice leading, and identify and write cadences that punctuate musical phrases
Functional harmony moves chords through tonic, pre-dominant and dominant areas toward resolution. Smooth voice leading connects them, and cadences punctuate phrases as perfect, plagal, imperfect or interrupted endings.
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What this dot point is asking
You need to explain how chords progress with purpose, connect them with good voice leading, and identify and write the four standard cadences both on the page and by ear. This sits at the heart of harmony, analysis and harmonising melodies.
Harmonic function
Chords are not random; they belong to functional groups that create a sense of direction.
- Tonic function (I, and often vi): home, stability and rest.
- Pre-dominant function (IV, ii): movement away from home that prepares the dominant.
- Dominant function (V, V7, vii diminished): the maximum tension, pulling strongly back to the tonic.
The classic journey is tonic to pre-dominant to dominant to tonic. This single phrase model underlies an enormous amount of Western tonal music, from Bach chorales to pop songs.
Voice leading
When one chord moves to the next, each voice (soprano, alto, tenor, bass) should generally move as little as possible. Keep common tones in the same voice, move other voices by step where you can, and resolve tendency tones: the leading note rises to the tonic, and the seventh of a V7 falls by step. Avoid consecutive (parallel) fifths and octaves between any two voices, since they weaken independence. Good voice leading makes a progression sound smooth and connected rather than jumpy.
The four cadences
A cadence is the chord pair that closes a phrase.
- Perfect (authentic): V to I, with the tonic in the top and bottom voices for the strongest version. A full stop.
- Plagal: IV to I, the gentle amen ending often heard after a perfect cadence.
- Imperfect (half): any progression ending on V. A comma that leaves the phrase open and expecting more.
- Interrupted (deceptive): V to vi, where the expected tonic is replaced by the relative minor chord, creating surprise and extending the music.
Identifying cadences by ear is a recurring aural task, and writing them correctly is central to harmony exercises.
Common progressions
Beyond cadences, certain progressions recur so often they are worth knowing by name. The circle-of-fifths sequence (vi, ii, V, I) drives forward strongly. The I, V, vi, IV loop underpins countless pop songs. The twelve-bar blues uses I, IV and V in a fixed pattern. Recognising these patterns speeds up both analysis and composition.
Why this matters
Harmonic progression is the engine of tonal music, and cadences are its punctuation. In analysis you trace the functional path and name cadences to explain how a phrase is shaped. In composition and arranging you build convincing progressions and place cadences to define your form. In aural tests you must hear the difference between a perfect and an interrupted cadence instantly. Practise writing the four cadences in several keys and identifying them in recordings until they are automatic.
Exam-style practice questions
Practice questions written in the style of SACE Board exam questions on this dot point, with worked answer explainers. The year tag is the paper they imitate, not the source.
2023 SACE Stage 22 marksRefer to the score for 'Norriture'. Name the key and type of cadence (perfect, plagal, imperfect or interrupted) used in the passing modulation in bars 18 to 19.Show worked answer →
Two marks: one for the key, one for the cadence type.
Key (1 mark): identify the local tonal centre at bars 18 to 19. A passing modulation is signalled by a new accidental functioning as a leading note and a chord acting as the new dominant; name the major or minor key it briefly tonicises.
Cadence type (1 mark): read the two chords at the phrase end and match them to function. Perfect is V to I (a strong, final-sounding close). Plagal is IV to I (the "Amen" cadence). Imperfect ends on V (often I to V, ii to V or IV to V), sounding unfinished. Interrupted is V to vi, where the expected tonic is replaced by the submediant for a surprise.
Name the cadence by its Roman-numeral motion in the local key, not the home key.
2024 SACE Stage 21 marksRefer to the score for 'Mezzo Sonatina'. Name the type of cadence used at the end of the piece.Show worked answer →
One mark for the correct cadence label, so identify the final two chords by their function in the home key.
Perfect cadence: V to I, the strongest and most conclusive ending, usually with the tonic in the melody and bass. Plagal cadence: IV to I, softer and hymn-like. Imperfect cadence: any approach ending on V, leaving the phrase open (unlikely at the very end of a piece). Interrupted cadence: V to vi, a deceptive turn away from the expected tonic.
Since this is the end of the piece, a conclusive V to I perfect cadence is most likely, but confirm by checking whether the final chord is the tonic (perfect or plagal) and which chord precedes it (V for perfect, IV for plagal). State the cadence by name.