Western tonal music uses harmonic cadences as structural and syntactic markers. This study examines cadence perception regarding the role of pre-cadential and cadential mode congruence. Major-to-minor and minor-to-major mode shifts that occur in Parallel-Mode Tonic (PMT) and Deceptive cadences were of interest, with the former including a key change. 61 adults with varied musical training rated arousal, valence, and degree of completion (DOC) for four cadence types (Authentic, PMT, Deceptive, and Neapolitan) in two pre-cadential modes (major or minor). Arousal ratings did not vary much across all cadence types and mode variations. In contrast, valence perception was predominantly influenced by the pre-cadential mode with major mode receiving higher ratings, and DOC perception further correlated with the final chord’s within-context tonal stability. Importantly, the perception of PMT cadences was unique in that the mode of the final tonic chord became far more important in both valence and DOC ratings, pointing to privileged and distinct perceptual processing when mode shifts resolve on a tonic chord, especially of major mode (i.e., Picardy Third). Musical training manifested as significantly enhanced rating tendencies which were most apparent for DOC. The results substantially extend our understanding of the interactive nature of modes, tonality, and expertise in music perception.