Cadences

Perfect - feels like a strong ending, full stop. Chords V- I

Plagal also feels like an ending but is slightly weaker; used to sing the
word Amen. Chords IV I
Imperfect feels open ended and unfinished, like a comma.
Several chords V
Interrupted surprise cadence. Chords V VI
Modulation involves a shift in the centre of gravity of the music, its a
journey from one key to another.
To trigger the movement an accidental is always necessary.
In a minor key:
A modulation to the subdominant minor (chord IV) is the easiest to
recognise because it is the only one to a minor key. A common way to
get to this key is to play the minor tonic chord, turn it from minor to
major and add a 7th. It can now function as the dominant 7th of the
subdominant.
In a modulation to the relative major (chord III), the flattened 7th of
the original key becomes the root note of the dominant 7th chord in
the new key.
A modulation to the dominant of the relative major (chord VII) moves
a little further away than to the relative major. It is one key further
around the circle of 5ths. The minor tonic can be thought of as the
supertonic in the new key, which leads naturally to the dominant in a
classic II V7 progression.
A modulation to the dominant minor (chord V) involves gaining a
sharp or losing a flat (e.g. C minor to G minor). Listen out for the
crucial modulating notes, the new leading note in particular (which will
be one of the notes of the original scale raised by a semitone).
In a major key:
A modulation to the relative minor key is easy to recognize because it
finishes in a minor key.
A modulation to the dominant (chord V) involves gaining a sharp (or
losing a flat), so the music sounds brighter and the key sounds
raised.

 A modulation to the subdominant (chord IV) involves gaining a flat (or

losing a sharp), so the overall effect is of the key having been
lowered, and the music mellowed or darkened.

Musical features
Phrasing if the phrases are the same length throughout the
phrasing is regular. If the phrases are of different lengths the
phrasing is irregular.
Style and period to determine this, listen to features such as the
shape of the melody, the harmony, how the dynamics and other
expressive details are used, how the different sections of the music
relate to each other, and so on.
Dynamics listen for the overall dynamic plan from phrase to phrase.
Then listen for rising and falling within phrases and echo effects.
Articulation a mixture of staccato and legato notes; explain how the
articulation is used referring to any distinctive features in the piece.
Texture describes how the musical lines work together. Make sure
you know how to describe texture as:
monophonic (a single line, no harmony or accompaniment)
biphonic two distinct lines, the lower sustaining a drone
(constant pitch e.g. ostinato or pedal note)
melody and accompaniment multiple voices of which one, the
melody stands out prominently and the others form a
background (mostly Classical and Romantic period)
homophonic (all sounds moving with similar rhythm, dense,
rich, e.g. chordal)
polyphonic or contrapuntal (several musical ideas moving
independently, characteristic for the Renaissance and Baroque
period)
Other words to use: unison or octaves, 2-part, 3-part, 4-part,
imitative.

Structure refers to the way in which musical ideas are organized,

connected and interrelated (repetition, contrast, introduction,
number of main sections, coda). It is an overall shape of a piece of
music.
Tonality major, minor, bitonal, modal or atonal.
Listen for any modulations and if there are any particular chords
used (e.g. dominant 7ths, diminished).