Subdominant (IV) moves to tonic (I). Softer than authentic, lacking dominant tension. Familiar from the church "Amen".
Soft, peaceful ending without preceding sharp tension. Associated with the church "Amen". Stability is high, but without the "inevitability" feeling of V-I.
In the IV-I cadence each chord serves a role: IV — Subdominant, I — Tonic. There is no leading tone or tritone in IV. Instead of sharp dominant tension, you get softer subdominant tension. The bass moves a fourth down (IV→I), creating a sense of rest without preceding sharp tension. This explains the cadence's "devotional" character.
Tension builds on the subdominant (IV). Resolution arrives on the tonic (I), bringing a sense of rest.
The IV-I cadence is typical of major. Hymns, blues (I→IV movement), ending pop verses, "Amen" in sacred music. Often follows the main authentic cadence.
iv-I (minor plagal — even softer), IV-i (in minor), bVI-I (extended plagal), IV-iv-I (major-minor plagal). Often used as an addition after the main authentic cadence.
The IV-I cadence is used for ending phrases, sentences, and entire pieces. Hymns, blues (I→IV movement), ending pop verses, "Amen" in sacred music. Often follows the main authentic cadence. 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-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.