Full close (authentic cadence)
The full close, also called the authentic cadence, leads from the dominant to the tonic: in major V–I, in minor V–i. It is the strongest, most final ending, because the leading tone of the dominant pulls inevitably into the root of the tonic.
- Progression in major
- V–I, in C major G–C
- Progression in minor
- V–i, in A minor E–Am
- Effect
- strongest, most final ending
- Perfect
- both chords in root position, root on top in the soprano
- Compare
- deceptive cadence
V–I
The page Cadences describes the authentic cadence, the full close: it goes from the dominant to the tonic, in major V–I, in minor V–i. It is the strongest, most final ending, the leading tone of the dominant pulls inevitably into the root of the tonic. The page Chords names as the basic movement of harmony the cadence tonic–subdominant–dominant–tonic, I–IV–V–I.
In minor the ending needs the leading tone: in natural minor the fifth degree is a minor chord that lacks it, which is why the seventh degree is raised and the dominant becomes a major chord. See Harmonic minor and The leading tone.
Perfect or imperfect
According to the Cadences page a perfect full close demands both chords in root position and the root of the tonic on top in the soprano: only then does the ending sound completely closed. If an inversion is present or the third or fifth is in the soprano, we speak of an imperfect full close, also an ending, but with some residual tension. The article Major and minor: the third as a switch explains why root position is taken for a firm final chord. See Root position.
| Cadence | Progression | Effect according to the Cadences page |
|---|---|---|
| Full close | V–I (minor V–i) | strongest, most final ending |
| Plagal cadence | IV–I | softer, more solemn, the “Amen cadence” |
| Half cadence | ends on V | open, like a question mark |
| Deceptive cadence | V–vi | disappointed expectation |
In the score
Guitar
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Etüde Nr. 7 Matteo Carcassi, op. 60 No. 7 · guitar · 2 pages
On page 1 the chord symbols E in bar 16 and Am in bar 17 appear: dominant and tonic of A minor, with the leading tone G♯ in the notes of bar 16.
Common mistakes
- Confusing full close and plagal cadence: The full close comes from the dominant, the plagal cadence from the subdominant.
- Forgetting the leading tone in minor: Without G♯ E–Am sounds weaker.
- Taking every ending for final: A half cadence or deceptive cadence leaves the phrase open.
Continue on Maikstrings
Related terms
Deceptive cadencePlagal cadenceHalf cadenceCadenceDominantTonicHarmonic minorRoot position
Editor: Maik Krohm · reviewed on 3 October 2026
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