# C-flat major deceptive cadence

The Solution below shows the C-flat major deceptive cadence on the piano and treble clef.

The Lesson steps then describe the cadence structure in this key, the chords used, followed by an example of its use.

For a quick summary of this topic, have a look at Cadence.

 Key C C# Db D D# Eb E E# Fb F F# Gb G G# Ab A A# Bb B B# [Cb]

## Solution

### 1. C-flat major deceptive cadence

This step shows the deceptive cadence in the key of C-flat major.

The deceptive deceptive cadence moves from the dominant (V), to a chord that is not the tonic(I) - eg. supertonic (ii) scale degree.

So in this major key, we are going from the Cb major triad chord #V - Gb major chord, to Cb major triad chord #ii - Db minor chord.

To demonstrate this, on the treble clef above, chords Cb major triad chord #I, Cb major triad chord #V, and Cb major triad chord #IV are used to set up the phrase as being in this key, then the cadence chords V and ii finish off the phrase, giving only a partial sense of completion, in comparison to the Cb major perfect authentic cadence

Another example of the deceptive cadence is the motion from the dominant -Cb major seventh chord #V7 to Cb major triad chord #vi, where the final chord is the relative minor of the first chord.

## Lesson steps

### 1. Cadence Types

This step describes the main cadence types, and the idea of strong versus weak cadence.

#### Cadence definition

In music theory, a cadence is two chords which create a sense of closure, or rest to a phrase, section, or entire piece of music.

The most commonly used are: perfect authentic, imperfect authentic, plagal, deceptive and half cadence.

Some of the above are US-english terms. In the UK, authentic cadences are called perfect cadences, half cadences are called imperfect cadences, and deceptive cadences are called interrupted cadences.

#### Cadences - strong versus weak

Each of the above cadence types use different chords (or inversions) to create these rest / closure effects.

Strong cadences give a real sense of finality, and so are most often used right at the end of a piece.

In contrast, weak cadences are less conclusive, which can be used to create a sense of rest, or even surprise the listener with a false ending, when a strong cadence was expected in its place.

### 2. C-flat major scale notes and chords

This step shows the C-flat major scale notes and the triad chords in that scale.

Before describing the details of the deceptive cadence in the key of C-flat major, first it would be to useful to identify the scale notes, degrees and chords that could be used in this key.

#### C-flat major scale notes

Below is a piano diagram showing the Cb major scale notes.

#### C-flat major scale chords

For details on all the chords in this scale, have a look at Cb major triad chords, and Cb major 7th chords, but a summary table of all chord names and their scale degrees is shown below.

C-flat major scale
Note no.Note nameScale degreeTriad chord #7th chord #
1CbtonicCb major triad chord #ICb major seventh chord #I7
2DbsupertonicCb major triad chord #iiCb major seventh chord #ii7
3EbmediantCb major triad chord #iiiCb major seventh chord #iii7
4FbsubdominantCb major triad chord #IVCb major seventh chord #IV7
5GbdominantCb major triad chord #VCb major seventh chord #V7
6AbsubmediantCb major triad chord #viCb major seventh chord #vi7
7Bbleading toneCb major triad chord #viioCb major seventh chord #viiø7

For each note in the scale (2nd column), there is a triad chord whose root / first note is that scale note (4th column), and the same applies to 7th chords (5th column).

To understand what the roman numerals mean, please look at Cb major triad chords or Cb major 7th chords.

According to the cadence type, some of these chords, scale degrees and roman numerals will be used in later steps to define this cadence.

### 3. C-flat major deceptive cadence

This step shows the C-flat major deceptive cadence on the piano and treble clef.

#### Structure

The deceptive cadence moves from the dominant (V), to any other chord than I, eg. the supertonic (ii) scale degree.

So looking up the chords relating to these scale degrees from the table above, we are going from the Cb major triad chord #V - Gb major chord, to Cb major triad chord #ii - Db minor chord.

It is less strong than the Cb major perfect authentic cadence because the dominant(V) and tonic(I) is the most fundamental diatonic scale degree relationship in western music.

#### Example

The two chords above are shown as the last two chords on the treble clef below.

The first three chords on the staff below are not strictly part of the cadence, but they are useful to set the expectation that this phrase is definitely in the key of C-flat major.

To do this, we are using chords Cb major triad chord #I, Cb major triad chord #V, and Cb major triad chord #IV, and after hearing these chords, followed by the first chord in the cadence (chord V), our ear is definitely expecting tonic chord (I) as the final chord in the sequence.

Instead of resolving on the tonic chord, by resolving on the supertonic chord the sense of resolution and finality is not there, in comparison to the Cb major perfect authentic cadence.

The audio files below also contain all 5 chords shown on the treble clef above.