<Ul> <Li> Half cadence (imperfect cadence or semicadence): any cadence ending on V, whether preceded by II (V of V), ii, vi, IV, or I--or any other chord . Because it sounds incomplete or suspended, the half cadence is considered a weak cadence that calls for continuation . <Ul> <Li> Phrygian half - cadence: a half cadence iv--V in minor, so named because the semitonal motion in the bass (sixth degree to fifth degree) resembles the semitone heard in the ii--I of the 15th - century cadence in the Phrygian mode . Due to its being a survival from modal Renaissance harmony this cadence gives an archaic sound, especially when preceded by v (v--iv--V). A characteristic gesture in Baroque music, the Phrygian cadence often concluded a slow movement immediately followed by a faster one . With the addition of motion in the upper part to the sixth degree, it becomes the Landini cadence . </Li> <Li> Lydian cadence: The Lydian half - cadence is similar to the Phrygian - half, involving iv - V in the minor, the difference is that in the Lydian - half, the whole iv is raised by a semitone . In other words, the Phrygian - half begins with the first chord built on scale degree P4 and the Lydian - half is built on the scale degree A4 (augmented 4th). The Phrygian cadence ends with the movement from iv → V of bass (3rd of the chord / scale degree m6) down by semi-tone → bass (the root of the chord / scale degree P5), fifth (scale - degree P1) up by whole - tone → fifth (scale - degree M2), and the root (scale degree P4) up by tone → octave (scale - degree P5); the Lydian half - cadence ends with the movement from a iv (raised by a semitone) → V of bass (3rd of the chord / scale - degree 6M) down by whole - tone → bass (the root of the chord / scale degree P5), fifth (scale degree A1) up by a semitone → fifth (scale degree M2), and the root (scale degree A4) up by a semitone → octave (scale degree P5). </Li> <Li> Burgundian cadences: Became popular in Burgundian music . Note the parallel fourths between the upper voices . </Li> </Ul> </Li> <Li> Plagal half - cadence: The rare plagal half - cadence involves a I--IV progression . Like an authentic cadence (V--I), the plagal half - cadence involves a descending fifth (or, by inversion, an ascending fourth). The plagal half - cadence is a weak cadence, ordinarily at the ending of an antecedent phrase, after which a consequent phrase commences . One example of this use is in Auld Lang Syne . But in one very unusual occurrence--the end of the exposition of the first movement of Brahms' Clarinet Trio, Op. 114--it is used to complete not just a musical phrase but an entire section of a movement . </Li> </Ul> <Li> Half cadence (imperfect cadence or semicadence): any cadence ending on V, whether preceded by II (V of V), ii, vi, IV, or I--or any other chord . Because it sounds incomplete or suspended, the half cadence is considered a weak cadence that calls for continuation . <Ul> <Li> Phrygian half - cadence: a half cadence iv--V in minor, so named because the semitonal motion in the bass (sixth degree to fifth degree) resembles the semitone heard in the ii--I of the 15th - century cadence in the Phrygian mode . Due to its being a survival from modal Renaissance harmony this cadence gives an archaic sound, especially when preceded by v (v--iv--V). A characteristic gesture in Baroque music, the Phrygian cadence often concluded a slow movement immediately followed by a faster one . With the addition of motion in the upper part to the sixth degree, it becomes the Landini cadence . </Li> <Li> Lydian cadence: The Lydian half - cadence is similar to the Phrygian - half, involving iv - V in the minor, the difference is that in the Lydian - half, the whole iv is raised by a semitone . In other words, the Phrygian - half begins with the first chord built on scale degree P4 and the Lydian - half is built on the scale degree A4 (augmented 4th). The Phrygian cadence ends with the movement from iv → V of bass (3rd of the chord / scale degree m6) down by semi-tone → bass (the root of the chord / scale degree P5), fifth (scale - degree P1) up by whole - tone → fifth (scale - degree M2), and the root (scale degree P4) up by tone → octave (scale - degree P5); the Lydian half - cadence ends with the movement from a iv (raised by a semitone) → V of bass (3rd of the chord / scale - degree 6M) down by whole - tone → bass (the root of the chord / scale degree P5), fifth (scale degree A1) up by a semitone → fifth (scale degree M2), and the root (scale degree A4) up by a semitone → octave (scale degree P5). </Li> <Li> Burgundian cadences: Became popular in Burgundian music . Note the parallel fourths between the upper voices . </Li> </Ul> </Li> <Ul> <Li> Phrygian half - cadence: a half cadence iv--V in minor, so named because the semitonal motion in the bass (sixth degree to fifth degree) resembles the semitone heard in the ii--I of the 15th - century cadence in the Phrygian mode . Due to its being a survival from modal Renaissance harmony this cadence gives an archaic sound, especially when preceded by v (v--iv--V). A characteristic gesture in Baroque music, the Phrygian cadence often concluded a slow movement immediately followed by a faster one . With the addition of motion in the upper part to the sixth degree, it becomes the Landini cadence . </Li> <Li> Lydian cadence: The Lydian half - cadence is similar to the Phrygian - half, involving iv - V in the minor, the difference is that in the Lydian - half, the whole iv is raised by a semitone . In other words, the Phrygian - half begins with the first chord built on scale degree P4 and the Lydian - half is built on the scale degree A4 (augmented 4th). The Phrygian cadence ends with the movement from iv → V of bass (3rd of the chord / scale degree m6) down by semi-tone → bass (the root of the chord / scale degree P5), fifth (scale - degree P1) up by whole - tone → fifth (scale - degree M2), and the root (scale degree P4) up by tone → octave (scale - degree P5); the Lydian half - cadence ends with the movement from a iv (raised by a semitone) → V of bass (3rd of the chord / scale - degree 6M) down by whole - tone → bass (the root of the chord / scale degree P5), fifth (scale degree A1) up by a semitone → fifth (scale degree M2), and the root (scale degree A4) up by a semitone → octave (scale degree P5). </Li> <Li> Burgundian cadences: Became popular in Burgundian music . Note the parallel fourths between the upper voices . </Li> </Ul> <Li> Phrygian half - cadence: a half cadence iv--V in minor, so named because the semitonal motion in the bass (sixth degree to fifth degree) resembles the semitone heard in the ii--I of the 15th - century cadence in the Phrygian mode . Due to its being a survival from modal Renaissance harmony this cadence gives an archaic sound, especially when preceded by v (v--iv--V). A characteristic gesture in Baroque music, the Phrygian cadence often concluded a slow movement immediately followed by a faster one . With the addition of motion in the upper part to the sixth degree, it becomes the Landini cadence . </Li>

What purpose does a complete cadence serve in music