Editing Cadence (section)

===Deceptive cadence{{anchor|Interrupted_(deceptive)_cadence}}===
<!--[[Deceptive cadence]] and [[Interrupted cadence]] redirect directly here-->
{{Image frame|content=<score sound="1" override_midi="Mozart - Sonata in C Major, K. 330, 2nd Movement deceptive cadence.mid">

    {
      \new PianoStaff <<
        \new Staff <<
            \relative c'' {
                \tempo "Andante cantabile"
                \clef treble \key f \major \time 3/4
                \partial4. c8-.(_\markup { \italic dolce } c-. c-.)
                c8.[ \grace { d32^( c b c } f16)] c8-. a( c e,)
                g4( f8)
                }
            >>
        \new Staff <<
            \new Voice \relative c {
                \clef bass \key f \major \time 3/4
                \partial4. r8 r4
                <f a c>2 <c g' bes>4
                \stemUp bes'^( a8)
                }
            \new Voice \relative c {
                \stemDown
                \partial4. s8 s4
                s2.
                d4.
                }
            >>
    >> }
</score>|width=350|caption=A deceptive cadence in the second movement of [[Mozart]]'s [[Piano Sonata No. 10 (Mozart)|Piano Sonata No. 10]].<ref name="Jonas"/>}}

Also known as an interrupted or false cadence, the deceptive cadence is a cadence from V to any chord other than the tonic (I), usually the submediant (VI).{{sfn|Latham|2002|p=193}} This is the most important [[irregular resolution]],<ref name="Foote">[[Arthur Foote|Foote, Arthur]] (2007). ''Modern Harmony in its Theory and Practice'', p. 93. {{ISBN|1-4067-3814-X}}.</ref> most commonly V<sup>7</sup>–vi (or V<sup>7</sup>–{{music|b}}VI) in major or V<sup>7</sup>–VI in minor.<ref name="Foote" /><ref>Owen, Harold (2000). ''Music Theory Resource Book'', p. 132. {{ISBN|0-19-511539-2}}.</ref> This is considered a weak cadence because of the "hanging" (suspended) feeling it invokes.
{{block indent|<score sound="1">
   \new PianoStaff <<
      \new Staff <<
         \new Voice \relative c'' {
             \stemUp \clef treble \key c \major \time 4/4
             b1 c
             }
         \new Voice \relative c'' {
             \stemDown
              g1 e
              }
            >>
     \new Staff <<
         \new Voice \relative c' {
             \stemUp \clef bass \key c \major \time 4/4
             d1 c
             }
         \new Voice \relative c' {
             \stemDown
             g1 a \bar "||"
             }
         >>
    >>
</score>}}

At the beginning of the final movement of [[Gustav Mahler]]'s [[Symphony No. 9 (Mahler)|9th Symphony]], the listener hears a string of many deceptive cadences progressing from V to IV<sup>6</sup>.{{Citation needed|date=October 2018}}

One of the most striking uses of this cadence is in the A-minor section at the end of the exposition in the first movement of [[Johannes Brahms|Brahms]]' [[Symphony No. 3 (Brahms)|Third Symphony]]. The music progresses to an implied E minor dominant (B<sup>7</sup>) with a rapid chromatic scale upwards but suddenly sidesteps to C major. The same device is used again in the recapitulation; this time the sidestep is—as one would expect—to F major, the tonic key of the whole Symphony.{{citation needed|date=October 2018}}

The interrupted cadence is also frequently used in popular music. For example, the [[Pink Floyd]] song "[[Bring the Boys Back Home]]" ends with such a cadence (at approximately 0:45–50).{{citation needed|date=October 2018}}