Chopin's Etude No. 16 in A minor, Op. 25 No. 4, ends with a cadence like this:

B♭/D - A

In Roman numerals, we write as:

♭II6 - I

Is this cadence viewed as Plagal (N6 - I), or Authentic (tt - I)?

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    Why do you make these post about codas and mislabel then as cadences? This mistake has been pointed out to you on other posts. – Michael Curtis Jun 23 '19 at 17:41
  • @MichaelCurtis - Well, I did ask another question about the final cadence of the finale of Dvorak's 9th symphony - and... it turns out the cadence already had occured 8 bars before the start of my score, as a bold and triumphant Bm11(b9)/A - E (v11(inv) - I, an inverted IAC with a Picardy 3rd), and my attachment was entirely the end of the expansion of the E chord of the cadence. However, the case of Chopin's Etude No. 16, there is no final tonic expansion, and just simply ends with a cadence of Bb/D - A over an A pedal point. – user53472 Jun 28 '19 at 11:28
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    In the Dvorak case you did the same thing: present a coda as a cadence. I'm only bothering to answer/comment on your multiple posts so other readers will see there is a difference. Other people made this same comment about mistaking a coda for a cadence, but your keep repeating the misinformation. – Michael Curtis Jun 28 '19 at 14:23
  • @MichaelCurtis - Nico Nico Nii! (I'm not making the mistake here, though...) In this case, I am writing the actual cadence, and not a coda. – user53472 Jul 4 '19 at 7:10
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    @MaikaSakuranomiya What are your thoughts on five measures from the end (V7–i) being the real cadence, with the last five measures functioning as coda/closing material? – Richard Jul 4 '19 at 22:31

An Authentic version would use the Dominant, which would be E7. They are most convincing to end a piece when showing the leap of a fifth down or fourth up (E-A) in the bass voice.

Here you use the sn ("Neapolitaner") of the 4th scale degree in A, d minor chord with flatted sixth instead of 5th.

The two chord progression is a plagal example showing the subdominant (d), to answer your question.


You are mistaking the coda for the ending cadences.

The cadences ending the piece are straight forward: N6 V7 i then a deceptive cadence N6 V7 IV followed by another PAC N6 V7 i.

After that is the coda which is a decoration of the tonic chord. Most of it alternates the tonic and subdominant. The N6 is put in and plays the role as a subdominant. The final chord uses the Picardy third.

You are mixing up the idea of structural cadences with the decorative elaboration of a coda.

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    I don't know if @HiDuEi intentionally wrote "plagal ending" rather than "cadence" in their answer, but that really is the point. The actual cadence is in the bars prior to the coda. The coda is where the plagal harmony is and it's a non-cadence: music.mcgill.ca/~caplin/caplin-classical-cadence.pdf – Michael Curtis Jun 24 '19 at 14:04

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