A cadence that resolves from V to I with the tonic in the soprano and in root position is called a

A cadence that resolves from V to I with the tonic in the soprano and in root position is called a

• A. Perfect Authentic Cadence
• B. Imperfect Authentic Cadence
• C. Half Cadence
• D. Plagal Cadence

Answer: (A)

A cadence defined by a move from the dominant to the tonic with both chords in root position and the top voice landing on the tonic is a Perfect Authentic Cadence. This combination gives the strongest sense of finality: the bass line moves from V to I, and the soprano ends on the tonic, so the cadence feels complete and resolved. If either the chords aren’t in root position or the soprano doesn’t end on the tonic, it would be an Imperfect Authentic Cadence—still V to I, but with a weaker closure. If the cadence ends on V instead of I, it’s a Half Cadence, and if it’s IV to I, that’s a Plagal Cadence.

A cadence defined by a move from the dominant to the tonic with both chords in root position and the top voice landing on the tonic is a Perfect Authentic Cadence. This combination gives the strongest sense of finality: the bass line moves from V to I, and the soprano ends on the tonic, so the cadence feels complete and resolved. If either the chords aren’t in root position or the soprano doesn’t end on the tonic, it would be an Imperfect Authentic Cadence—still V to I, but with a weaker closure. If the cadence ends on V instead of I, it’s a Half Cadence, and if it’s IV to I, that’s a Plagal Cadence.