Cadences

The final cadence of a complete hymn specifically very often is a

• A.a factor entirely unrelated to very often being a perfect cadence at the hymn's end
• B.perfect cadence, firmly establishing the tonic key
• C.imperfect cadence, leaving the hymn sounding deliberately unfinished at its very close
• D.interrupted cadence, deliberately avoiding any firm sense of closure at the very end

A perfect cadence, an imperfect cadence, a plagal cadence, and an interrupted cadence, taken together, specifically represent the

• A.five main cadence types studied at this level, one more than the number actually listed
• B.only a single, combined cadence type, despite being given four entirely separate names
• C.a factor entirely unrelated to representing the four main cadence types studied at this level
• D.four main cadence types studied at this level

A perfect cadence, in music, specifically is formed by the chord progression

• A.IV to I, a progression instead associated with a plagal cadence
• B.V to I
• C.a factor entirely unrelated to the chord progression V to I of any kind
• D.I to V, the reverse of the progression that forms a perfect cadence