The basic dominant-to-tonic movement. Dominant triad (V) resolves to tonic (I). The most common cadence in Western music.
Sounds clear and decisive, but softer than PAC. No tritone "grit" — just clean fifth motion. Finality is complete, but without drama.
In the V-I cadence each chord serves a role: V — Dominant, I — Tonic. The fifth-based relationship between V and I is the foundation of all functional harmony. The circle of fifths organizes harmonic motion: V always "gravitates" toward I, creating a sense of closure. The leading tone (7th degree) within V provides additional pull.
Tension builds on the dominant (V). Resolution arrives on the tonic (I), bringing a sense of rest.
The V-I cadence is typical of major. Ubiquitous in pop, rock, and folk music. Structural backbone of most verses and choruses.
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 V-I cadence is used for ending phrases, sentences, and entire pieces. Ubiquitous in pop, rock, and folk music. Structural backbone of most verses and choruses. 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-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.