Authentic cadence

What it means

The authentic cadence is the closing turn from the dominant to the tonic, in function-theoretical terms D–T (V–I), frequently with the seventh as D7–T. It is the strongest and most unambiguous cadence formation of tonal music, because in it the leading tone is led to the root and, with the dominant seventh chord, the tension of the tritone also resolves.

Musical use

How strongly an authentic cadence works depends on the position. If both chords stand in root position and the root lies in the upper voice of the closing chord, one speaks of a perfect authentic cadence — it seems final and is used at the ends of movements and pieces. If, by contrast, the third or fifth lies on top, or one of the chords stands in inversion, the close seems less complete; one then speaks of an imperfect authentic cadence, which suits interior closes.

The voice leading is fixed: the bass leaps from the root of the dominant into that of the tonic, the leading tone rises to the root, the seventh falls to the third. Frequently a cadential six-four chord precedes the cadence, delaying the dominant.

The authentic cadence is to be distinguished from three related turns. The plagal cadence leads from the subdominant to the tonic, without a leading tone, and seems soft. The half cadence ends on the dominant and stays open. The deceptive or interrupted cadence leads the dominant not to the tonic but usually to the sixth degree, and so disappoints the expectation of a close. In British usage, incidentally, “perfect cadence” denotes any close from dominant to tonic.

Performance practice

Give the dominant weight and the tonic calm — the effect lies in the resolution, not in the loudness of the closing chord. Lead the leading tone and the seventh audibly into their goals. And when shaping, distinguish between perfect and imperfect closes: not every close should sound like the end.