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I've gone through many unusual cadences so far - conclusive cadences that are not V-I, V-i, v-i (rare), viio-I, #viio-i, IV-I, or iv-i, and progressive cadences that are not V, v (rare), V-vi, V-VI, or v-VI (rare). However, such cadences can be analyzed as variants of the originally existing formulas: authentic and plagal for conclusive cadences, and half and deceptive for progressive cadences.


For authentic cadence variants, I've gone through:

  • bII7(no5)-I, bII7(no5)-i
  • bII7(b5)-I, bII7(b5)-i
  • bII7-I, bII7-i
  • bVII-I, VII-i
  • bIII-I, III-i
  • bIII+-I (rare), III+-i (rare)

For plagal cadence variants, I've gone through:

  • ii-I, iio-i
  • N-I, N-i
  • bVI-I, VI-i
  • It.6-I, It.6-i
  • Fr.6-I, Fr.6-i
  • Ger.6-I, Ger.6-i

For half cadence variants:

  • viio, #viio
  • bVII (rare), VII
  • IV, iv

For deceptive cadence variants:

  • V-iii, V-III, v-III (rare)
  • V-IV, V-iv, v-iv (rare)

Question: What are some other examples of possible deviant cadences?

  • I'm not even sure several of your examples count as cadences (e.g. bVII-I), even if they are placed as the last two chords of a piece and those chords are forceful to boot. – Dekkadeci Jul 14 at 6:40
  • What is the example of a N-i cadence? ...from an actual composition. – Michael Curtis Jul 15 at 17:12

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