Nineteenth-century Russian music often eschews Western functional harmony. In particular, this repertoire often effects cadential closure without the V chord. I argue, borrowing ideas from Nobile (2016), that such cadences in Russian music occurs through three main processes: strongly directed voice-leading to the I chord from some non-V chord; repeti- tion of a non-tonic harmony in opposition to tonic, creating a sense of "antitonic" (White and Quinn, 2018); and establish- ment of a melodic axis through emphasis of a non-tonic pitch, similar to the idea of antitonic. With this analysis, I hope to help broaden our idea of dominant function and of cadence to include these gestures which are not considered traditional.