| Authentic Cadence | A tonic triad preceded by some form of dominant-function harmony (V or viio) at a cadential point.
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| Cadence | The harmonic goal; specifically, a harmonic progression that provides complete or partial resolution of a larger progression.
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| Conclusive Cadences | Cadences that conclude with a tonic harmony, including authentic and plagal cadences.
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| Contrasting Period | A period in which the beginnings of the antecedent and consequent are not similar. (This term can also apply to double periods.)
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| Deceptive Cadence (DC) | A cadence that results when the ear expects a V-I authentic cadence but hears V-? instead. The "?" is usually a submediant triad, but there are other possibilities.
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| Double Period | A multi-phrase unit similar to a period, except that each half of the structure consists of two phrases rather than just one (the second pair typically has a stronger cadence than the first).
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| Elision | A procedure by which the last note of one phrase also serves as the first note of the next phrase.
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| Form | The way a composition is structured to create a meaningful musical experience.
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| Half Cadence (HC) | A common type of unstable or "progressive" cadence. The HC ends with a V chord, which can be preceded by any other chord.
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| Imperfect Authentic Cadence (IAC) | Any authentic cadence that is not a PAC due to the use of viio instead of V or V7, the inversion of the dominant or tonic harmony, and/or the arrival on something other than the tonic scale degree over the I chord.
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| Motive | The smallest identifiable musical idea; it can consist of a pitch pattern, a rhythmic pattern, or both.
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| Parallel Period | A period in which the antecedent and consequent both begin with similar or identical material, even if that material is embellished. (This term can also apply to double periods.)
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| Perfect Authentic Cadence (PAC) | Consists of a V-I (or V7-I) progression, with both the V and I in root position and  <![CDATA[<a onClick="window.open('/olcweb/cgi/pluginpop.cgi?it=jpg::::/sites/dl/free/0078025141/963004/Chp1_1.jpg','popWin', 'width=NaN,height=NaN,resizable,scrollbars');" href="#"><img valign="absmiddle" height="16" width="16" border="0" src="/olcweb/styles/shared/linkicons/image.gif"> (0.0K)</a>]]> in the melody over the I chord.
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| Period | A multi-phrase unit that typically consists of two phrases in an antecedent consequent (or question-answer) relationship, that relationship being established by means of a stronger cadence at the end of the second phrase.
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| Phrase | A relatively independent musical idea terminated by a cadence.
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| Phrase Group | A multi-phrase unit that consists of several phrases that seem to belong together structurally even though they do not form a period or double period (typically when the final cadence is not the strongest one).
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| Phrygian Half Cadence | A special name given to the iv6-V HC in minor. The name refers to a cadence found in the period of modal polyphony (before 1600) but does not imply that the music is actually in the Phrygian mode.
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| Plagal Cadence (PC) | Typically involves a IV-I progression at a cadential point, often added on as a kind of tag following a PAC.
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| Progressive Cadences | Cadences that do not conclude with a tonic harmony, including deceptive and half cadences.
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| Repeated Phrase | Two adjoining phrases that are identical, with the possible exception of embellishing or ornamental differences.
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| Sentence | A structural unit characterized by the immediate repetition or variation of a musical idea followed by a motion toward a cadence.
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| Subphrase | A distinct portion of a phrase that it is not a phrase either because it is not terminated by a cadence or because it seems too short to be relatively independent.
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| Three-Phrase Period | Consists of three different phrases—two antecedents and a consequent or one antecedent and two consequents (as determined by the cadences).
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