A concrete starting point
G–B–D → C–E–G
Authentic and half cadences
An authentic cadence moves dominant to tonic, V–I in major or V–i in minor. A perfect authentic cadence requires more specific conditions, including root-position V and I with the tonic in the upper voice at the close. Other dominant-to-tonic endings may be imperfect authentic cadences. A half cadence ends on V, leaving a sense of harmonic continuation. In C major, a phrase arriving on G is a starting example.
Plagal and deceptive motion
A plagal cadence uses IV–I, such as F–C in C major. A deceptive cadence commonly takes V to vi in major, such as G–Am: the expected tonic is delayed while two notes of the tonic triad remain in the vi chord. These labels describe a phrase context, not a guaranteed emotional effect of isolated symbols.
A practical listening task
Build C F G C, then C F G Am at the same tempo. Keep your rhythm and voicing similar so you can compare the final chord. Next stop a phrase on G. The progression builder supplies a sketch, while the voice-leading tool helps inspect register connections. Do not infer the cadence class of a whole song from a single chord pair without hearing its phrase structure.
Put it into practice
These examples describe explicit written notes and relationships. A diagram or generated phrase does not replace listening to a complete musical context, choosing a comfortable register or checking a physical technique with a teacher.