SwarShala: one phrase, four cadence endings
Guide: https://swarshala.com/blog/identify-cadences-at-phrase-endings
Original written examples. Date: 2026-10-03.

CONVENTIONS
Key C major; 4/4. C4 is middle C.
q = quarter note; h = half; dh = dotted half; rq = quarter rest.
One phrase bracket covers bars 1-8. No phrase break at bar 4.
Choose ONE ending row after the shared opening, not all four in succession.

ACCOMPANIMENT VOICINGS
C: C3-E3-G3. F: F2-A2-C3. G: G2-B2-D3.
Am: A2-C3-E3. Dm: D3-F3-A3.
Each chord holds for all four beats, except bar 8: three beats, then rest.

SHARED COMPLETE OPENING
Bar  Chord   Complete melody
1    C       C5 q, E5 q, G5 h
2    F       F5 q, A5 q, C6 h
3    G       B5 q, G5 q, D5 q, B4 q
4    C       C5 q, E5 q, G5 q, E5 q
5    Am      A4 q, C5 q, E5 h
6    Dm      D5 q, F5 q, A5 h

FOUR ALTERNATIVE ENDINGS
Version  Bar 7                         Bar 8
A        Dm: D5 h, F5 h                G: G5 dh, rq
B        G:  D5 h, B4 h                C: C5 dh, rq
C        F:  A4 h, F4 h                C: E4 dh, rq
D        G:  D5 h, B4 h                Am: C5 dh, rq
At bar 8 all parts rest on beat 4. The phrase ends after that bar.
Every full version has 32 quarter-note durations including the final rest.

CLASSIFY BEFORE CHECKING THE KEY
Version  Last two numerals  Final chord's role  Cadence label
A        ________________  _________________  ________________________
B        ________________  _________________  ________________________
C        ________________  _________________  ________________________
D        ________________  _________________  ________________________

DECOY
Bars 3-4 move G-C. Is that enough to assign an authentic cadence here?
Keep chord identification and phrase-boundary evidence separate.
_____________________________________________________________________
_____________________________________________________________________

TRANSFER QUESTIONS
For 1-4, the key is G major. Each pair is at a declared phrase ending.
1. D-G: numerals and label. ___________________________________________
2. C-G: why does the label differ from Question 1? _____________________
3. D-Em: final scale degree and label. _________________________________
4. Am-D: what establishes its half-cadence category? ___________________
5. Repair: "Version A is authentic because its final G chord is major."
   _________________________________________________________________
6. Can an isolated G-major chord establish a cadence without key and
   phrase context? __________________________________________________

YOUR NEXT SCORE
Proposed phrase boundary: ____________________________________________
Evidence for the key: ________________________________________________
Evidence for an arrival here: ________________________________________
Final chord and role: ____________ preceding chord and role: ___________
Cadence conclusion or missing evidence: ______________________________

-------------------- ANSWER KEY: COVER UNTIL READY --------------------
A: ii-V; final V; half cadence.
B: V-I; final I; authentic cadence.
C: IV-I; final I; plagal cadence.
D: V-vi; final vi; deceptive pattern selected for this major-key exercise.
V-vi is a common deceptive pattern, not every possible deceptive ending.

Decoy: G-C is correctly V-I in C. The supplied bracket and continuing
quarter-note melody place it inside this phrase, with no break at bar 4.
Record V-I inside the phrase; no cadence assigned under this segmentation.
This does not claim that bar 4 can never end a different phrase.

Transfer:
1. V-I; authentic.
2. IV-I; plagal. The arrival stays I but the approach changes.
3. V-vi; Em is vi in G; deceptive in this selected pattern.
4. It ends on V, D major; preceding Am is ii.
5. In key C, G is V. Version A is ii-V, a half cadence. Major quality
   alone does not identify the tonic.
6. No. The chord can have different roles and occur away from an ending.

Scope: four basic categories in supplied Western tonal written examples.
No finer authentic-cadence subtype, recording or listening-test claim.