Western classical music has a long and distinguished history, and the way a piece of classical music ends is an important part of the overall composition. Traditionally, the ending of a classical composition would almost always be a perfect or an imperfect cadence.

A perfect cadence includes a chord progression of dominant to tonic, or V to I in musical notation. This particular cadence is also known to be the most conclusive and satisfying resolution. On the other hand, an imperfect cadence is slightly less conclusive and features a chord progression of subdominant to tonic, or IV to I in musical notation. While it does not have the same sense of finality as a perfect cadence, an imperfect cadence can still be used to effectively end a piece of classical music.

Both perfect and imperfect cadences appear in scores throughout western classical music, and are often used to create a sense of resolution and closure. For example, one of the most famous pieces of classical music, Beethoven’s Symphony No. 5, concludes with a perfect cadence in C major. Other famous pieces that conclude with perfect cadences include Mozart’s Symphony No. 40, Bach’s Brandenburg Concerto No. 3, and Schubert’s Symphony No. 8.

In addition to perfect and imperfect cadences, other variations of cadences also appear in classical music, including interrupted cadences, half cadences, and plagal cadences. These cadences each have a different sound and can be used to create a sense of drama, suspense, or resolution, depending on the composer’s desired effect. So while the perfect or imperfect cadence is the traditional way to end a western classical composition, there are other options available.

Regardless of the type of cadence used, the conclusion of a classical composition is an important part of the overall piece. The way a piece of music ends can inform the listener of the meaning or intent of the music itself. Therefore, composers must be mindful of the type of cadence they use and the effect it has on the overall composition.