Now that we have learned about notes, tunes scales and chords we can progress to cadences. If you haven’t read the articles about the topics mentioned you should read those first to understand the topic that will be discussed in this text.
Cadences are an apposition of chords that work in a certain pattern that makes the chords sound good together. Cadences are often the pattern that is hidden behind any kind of musical accompaniment that is used to accompany solo instruments. In former times mostly played on the piano and harpsichord for accompaniment of virtuous music artists. Because of this some rules of cadences creating are related to the piano and pianists.
Before we start with the rules on how to create a cadence we need some other knowledge about theoretical music related to this topic.

The first note of a scale is called “Tonic” and is marked with a roman “I” or with the shortcut “T”. The second note is called “Subdominant”, marked with a roman IV and the shortcut “SD”. The fifth note of a major scale is called “Dominant” and is marked with a roman “V” or the shortcut “D”.
A normal basic cadence of a major scale consists of a Tonic a subdominant and a dominant in this exact order.
This cn be written in I, IV, V or T, SD, D.
The second note of a scale is called “ Subdominant parallel” and is marked with a roman “II” and written with the shortcut “Sp”. The third note of a scale is called “Dominant parallel” and is marked with a roman “III” and is written in the shortcut “Dp”. The sixth note of a scale is called “Tonic parallel” and is marked with a roman “VI” and is written in the shortcut “Tp”.
A basic cadence of a minor scale is written with the Subdominant parallel, the Dominant parallel and the Tonic parallel in this exact order This can also be written in II, III. VI or Sp, Dp, Tp.
But how to write and create a cadence now? Well let us start with the major cadence. You will notice that all the rules apply for all kinds of cadences.
First write down the basic chord of C major. This can be in all its variations and in any octave. Now we take the fourth note of the c major scale, the subdominant F and write down the F major chord. Here comes the first rule.

“The same note goes in the same line”. This means that we need to look for same notes that both chords have. C major is C, E, G and F major is F, A, C. The same note is C. So we need to form the second inversion of F major C, F, A. We move it in the right octave and now both chords are quite near to each other. This rule can be explained that in former times pianists played very fast so it was convenient for them if the chords are not far away from each other and the fingers don’t need to move so much.
This leads us also the the second rule of “the shortest way”. If two chords that lie next to each other in a cadence have no similar notes you need to follow the rule of the shortest way. The chords need to be adjusted so their notes lie the closest to each other.

After the F major chord we add the G major chord G, H, D. This chord has no equal notes with the F major chord so we follow the second rule and write the chord down in this way D, G, H. in this form both chords are the shortest way away from each other. The cadence is always closed with the basic chord again if there are no other instructions. G major and C major have G as an equal note. For this we need the C major in the first inversion E, G, C. With this we follow all given rules.
For cadences you need to know that there is also always on bass line written under the chords. This line consists of the chords basic notes. In relation to this bass line there is one more rule you need to consider. “The chords move against the direction of the bass line”. This means that if the bass line is moving down from a C to a F that is written deeper than it, the F major chord needs to be written higher than the C major chord.

If you follow these rules if you want to create any kind of cadence it will turn out right. Sometimes on rules can overrule other rules, for example the “Same note in the same line” overrules the “The chords move against the bass line” rule. It is your decision which rule you value the most. Just note that there is no wrong way of writing a cadence, if you try to follow the rules the best you can.