Songs without Words

Despite the general teaching that only V and IV can lead to the tonic at a cadence, almost all chords can function in their place if properly substituted.  The most compelling cadences often make use of either the raised 7th scale degree or lowered 6th, or both, but cadences can do fine without either.

Broadly speaking, chords which can substitute for the dominant have their root on an “odd number” – that is, 3, 5, and  7.  Likewise, chords which can substitute for the subdominant are “evens” – that is, 2, 4, and 6.  I would rank the difficulty of cadencing using each of these scale degrees as follows: 5 < 4 < 7 < 2 < 6 < 3.  The challenge in working with 6 and 3 is that they are traditionally treated as pre-pre-dominants or pre-pre-pre-dominants.  &#X266DVI is easily used if bridged by &#X266DVII, and iii may function as a passing escape-tone chord from V.  Otherwise, &#X266DVI and &#X266DIII can be used as third-relation chords.  iii and vi on their own are so close to the tonic, note-wise, that it is nearly impossible to construct a compelling cadence with them.

Dominant-functioning chords for cadences: &#X266DIII, iii in passing, V, v, &#X266DVII, &#X266DVII, vii^o7.

Subdominant-functioning chords: &#X266DII (N), ii^o, IV, iv, &#X266DVI

In total, the chords which I have found to compellingly cadence to the tonic in a piece ending scenario are: &#X266DII, ii^o, &#X266DIII, IV, iv, V, v, &#X266DVI, &#X266DVII, &#X266Dvii, vii^o7.

Now, isn’t that a much more fun selection to play with?

Cadence Demonstration

In order:  Subdominants: IV, iv, &#X266DVI, ii^∅7, &#X266DII.  Dominants:  V7, v7, vii^o7, &#X266DVII.