A plagal cadence is a cadence from IV to I. This mode is the plagal counterpart of the authentic third mode, which was called "Phrygian". In the plagal cadence, it appears as the falling of the subdominant to the mediant. The chorus ends with a largo plagal cadence on "Alleluia". The chorus ends with a largo plagal cadence on "Allelujah". This movement ends with plagal cadence. Ockeghem's solution is to write cadences that today would be called plagal cadences. The piece ends with a brief coda and a plagal cadence. Finally, Palestrina ends the motet with a very strong plagal cadence. This mode is the plagal counterpart of the authentic fifth mode. Although corresponding plagal and authentic modes have the same final, they have different dominants. In the plagal modes, its position is somewhat irregular. It is sung in the first plagal (or fifth) tone. In plagal tones the letters were similar to "Noeane", as "Noeacis" according to them. In addition, all plagal changes (in this case, B to F major) are fleeting.