The deceptive cadence in measures 6–7 of In me transierunt.
A final (perfect) cadence on the downbeat of measure 7 would have involved a G in the fifth (lowest) voice and a B in the second voice to give the "hard" major third G–B; the fifth (D) would then be implied. Instead, this deceptive cadence substitutes the "soft" minor third E–G; the fifth (B) is then given by the second voice as it resolves on the next beat.