Definition
The plagal cadence is the IV → I movement (in C: F → C). It is also called the "Amen cadence" because in chorales and hymns the final word "Amen" is often harmonized this way. Compared with the authentic cadence (V → I) it has no leading tone: it is softer, solemn, conclusive "by gravity."
Voice leading
F (F A C) → C (C E G):
- C stays (common tone)
- A falls to G
- F falls to E
Two voices fall by step: it is a "downward" resolution, the opposite of the leading tone that rises.
The minor plagal (iv → I)
Borrowing the minor iv from the parallel mode: Fm → C.
- Ab → G (b6 → 5): very strong descending half step
- F → E, C stays
The color is nostalgic, cinematic, "gospel." In negative harmony the iv is the mirror image of the V: it explains why iv–I seems to "resolve as much" as V–I.
Variants
| Variant | Chords in C | Effect |
|---|---|---|
| IV – I | F – C | classic, "Amen" |
| IV – iv – I | F – Fm – C | chromatic descent A – Ab – G |
| iv6 – I | Fm6 – C (F Ab C D) | contains D, which rises to E: almost a V |
| ivm7 – I | Fm7 – C | jazz/soul color |
| ii7 – I (ii as IV with sixth) | Dm7 – C | "soft" plagal |
| bVI – I | Ab – C | "heroic," film and rock |
| bVII – I | Bb – C | Mixolydian plagal, rock |
| bVII – IV – I (double plagal) | Bb – F – C | two plagal steps by descending fifths |
| IV/I – I | F/C – C | plagal over a tonic pedal (gospel, pop) |
The double plagal (bVII – IV – I) is the ending of Hey Jude by the Beatles (coda in F: F – Eb – Bb – F).
Real examples
- The Beatles, In My Life (1965, A major): in the verse D → Dm → A, that is IV – iv – I.
- Radiohead, Creep (1992, G): G – B – C – Cm: the C → Cm → G is IV – iv – I.
- The Beatles, Let It Be: the chorus closes with F – C (IV – I) in C.
- In sacred music (Handel, Lutheran chorales), the plagal often follows an authentic cadence as a "confirming tag."
Plagal and gospel
In gospel the plagal is the "home" cadence: I – IV/I – I, with the IV often enriched (F/C, Fmaj9/C, Fm6/C). Jacob Collier makes extensive use of the minor subdominant as an alternative to the dominant, leaning on exactly this logic.
Exercise for the producer
- Write a chorus that closes with G7 → C.
- Redo it with F → C, then F → Fm → C, then Fm6 → C.
- Assign the ending to a choir (vocal pad or sampled Choir) with a 2.5–3 s hall reverb: hear how the plagal "opens up."
- Choose the version that best fits the emotion of the lyrics; use the minor plagal in the last chorus for a nostalgic touch.
Related topics
Cadences (basic card), modal interchange, negative harmony, gospel harmony, Mixolydian in rock.