Minor cadence with subdominant (iv), dominant (V) and tonic (i). V is built on harmonic minor with a raised 7th degree.
The iv-V-i cadence with 3 chords creates an extended harmonic motion. The ending sounds stable and definitive.
In the iv-V-i cadence each chord serves a role: iv — Subdominant, V — Dominant, i — Tonic. Harmonic minor was specifically developed to strengthen the V→i resolution. The raised 7th degree creates a half-step pull toward the tonic — the same mechanism as in major.
Tension builds on the dominant (V). Resolution arrives on the tonic (I), bringing a sense of rest.
The iv-V-i cadence is typical of harmonic minor. Classical and romantic music in minor, flamenco, Spanish style.
Common modifications: replacing one chord with an inversion, adding passing chords, rhythmic variation. You can replace V with V⁷ for stronger pull or use V⁹ in a jazz context.
The iv-V-i cadence is used for ending phrases, sentences, and entire pieces. Classical and romantic music in minor, flamenco, Spanish style. 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 iv-V-i 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.