Dominant (V) resolves not to the expected tonic but to the 6th degree. The ear is "deceived" — expecting I but getting vi. Creates a surprise effect.
The listener expects the tonic's rest but gets an unexpected turn. A "prolongation" effect is created — the phrase doesn't end but continues. Tension is partially released (vi is not a dissonance), but there's no complete rest.
In the V-vi cadence each chord serves a role: V⁷ — Dominant, vi — Tonic Substitute. vi shares two tones with I (e.g., Am and C share C and E). The leading tone still rises to the tonic — which reduces the "deception." But vi is minor, and the unexpected major/minor shift plus the bass displacement catches the ear off guard.
Tension builds through the stepwise motion. The expected resolution doesn't happen — another chord replaces the tonic.
The V-vi cadence is typical of major. Unexpected twist at the end of a phrase, extending a verse or chorus, creating a sense of "question without answer".
V→IV (double deception), V→bVI (Neapolitan deception), V→iii, V→bVII. Any dominant resolution other than I is technically deceptive.
The V-vi cadence is used for creating an unexpected harmonic turn, extending a musical phrase. Unexpected twist at the end of a phrase, extending a verse or chorus, creating a sense of "question without answer". In form, it can appear at the end of a verse, chorus, or section. When analyzing harmony, notice how the cadence affects the perception of form — it can emphasize structural boundaries or blur them.
On guitar, the V-vi cadence can be played in open position (keys of C, G, D, A, E) or with barre chords (any key). Pay attention to voice leading — try to keep common tones in place while other voices move smoothly. This creates a more connected and professional sound. Also try playing the cadence on higher frets using partial barres and jazz voicings.