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A deceptive cadence is a cadence based on a deceptive cadential progression i.e. a chord progression from the fifth scale degree to any scale degree except the first. A deceptive cadence occurs where a listener would expect an authentic cadence. Thus, a listener is deceived to expect a tonic chord and then is surprised by some other chord. It should not be a surprise that the deceptive cadence can be a powerful means of expression. The deceptive cadence calls for a continuation of music.
As an example, we can examine the ending of Bach’s Prelude No. 8 in Eb minor from Well-Tempered Clavier, Book I. In measure 36, we see the melodic line which descends to the second scale degree (F4) and suggests a continuation to the tonic (which indeed will come in the next measure). Also, there is the dominant seventh chord on the fifth scale degree at the end of measure 36. Hence, everything looks prepared for the forthcoming tonic triad chord, but the next chord is the tonic dominant seventh chord. Since it is followed by the diatonic triad chord on the fourth scale degree, it is more instructive to show it as the secondary dominant chord. This is illustrated in the figure. Thus, a listener is deceived. It is like Bach is saying “No, this is not yet the end of the composition” and then prepares the real end in the following two measures.
A deceptive cadence is usually annotated using the abbreviation DC.
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