| A | B |
|---|
| Cadence | Refers to a harmonic goal or the chords that are used at a harmonic goal |
| Authentic Cadence | Some form of V or viiº followed by I or I(6) |
| Perfect Authentic Cadence | (PAC) Root position V or V(7) followed by a root position I with 1 in the soprano over the chord |
| Imperfect Authentic Cadence | (IAC) Any authentic cadence that is not a PAC |
| Deceptive Cadence | (DC) V followed by some chord other than I, usually vi |
| Half Cadence | (HC) A cadence that ends on V |
| Phrygian Half Cadence | (HC) iv(6)--V in minor |
| Plagal Cadence | (PC) IV--I |
| Motive | Smallest identifiable musical idea |
| Phrase | Relatively independent musical idea terminated by a cadence= Are usually made up of 2 or more distinct portions (a.k.a. subphrases) |
| Subphrases | Distinct portions of a phrase |
| Period | Two phrases that are combined (can only be combined together if they seem to go together as a musical unit and if the second phrase ends with a more conclusive cadence than the first = May be either parallel or contrasting (according to whether the two halves begin with similar melodic material) |
| Double Periods | Just like periods except that each half of the structure consists of two phrases rather than just one= May be either parallel or contrasting (according to whether the two halves begin with similar melodic material) |
| Repeated Phrase/Period | Does not produce a new kind of formal unit and should not be confused with a period or double period |
| Phrase Group | Group of phrases that seem to belong together without forming a period or double period |
| Describe: Motive (smallest to greatest) | Motive--subphrase--phrase--period--double period |
