Perfect cadence
The perfect cadence is the strongest closing formula of tonality: dominant and tonic, both in root position, with the root of the tonic in the soprano. It sounds final because all the voices come to rest.
- Sequence
- V (or V⁷) – I
- Both chords
- in root position
- Soprano at the close
- root of the tonic
- In C major
- G – C, C on top
- Also called
- perfect authentic cadence
All voices arrive
The authentic cadence, the sequence dominant–tonic, can sound more or less final. The perfect cadence is its strongest form. It has two conditions: both chords are in root position, so the root lies in the bass, and in the soprano lies the root of the tonic. In the example the melody runs from the leading tone B to the C that bass and upper voice reach together.
I – IV – V – I in C major: right hand (three upper voices)
The upper voices in four-part writing. The dominant and the tonic are marked. The leading tone B in the soprano rises to the root C, and in the last chord this root lies on top.
The bass to go with it: left hand
The bass goes C–F–G–C. The step from dominant to tonic is a fifth downwards (or fourth upwards), the bass formula of the authentic cadence.
In the glossary: Full close (authentic cadence) · Dominant · Tonic
The difference from the imperfect cadence
If in the final chord the third or the fifth lies on top, or a chord is in inversion, residual tension remains that invites you to go on listening. That is called imperfect. Whether a close sounds “final” depends not on the chords alone but equally on the position of the upper voice.
| Perfect | Imperfect | |
|---|---|---|
| Chords | both in root position | an inversion possible |
| Soprano in the final chord | root | third or fifth |
| Effect | final | with residual tension |
In a movement
In tonal music the cadence at the end of a movement is mostly shaped as a perfect cadence, often strengthened by a preparation, such as a subdominant, a six-four chord or an extended closing formula in the coda (see Final cadence). Internal closes within a piece, by contrast, are often imperfect or end on the dominant, as a half cadence. The detailed account of all closing formulas is under Cadences.
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Related terms
Full close (authentic cadence)CadenceDominantTonicFinal cadencePlagal cadenceHalf cadenceDeceptive cadence
Editor: Maik Krohm · reviewed on 3 October 2026
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