A variety of causes led me recently to consider attentively the subject of Closes in music, not the least of these causes being the very meagre and superficial way in which the subject is treated in all the theory works with which I am acquainted. Even a satisfactory definition of the term Close or Cadence is hardly to be found, and the sum total of book-information on the subject is to the effect that a Close is the end of a period in music and is distinguished by the occurrence of two particular chords; that the principal kinds of closes are the “perfect,” “plagal,” and “half” close, but that there is also the “imperfect,” “false,” or “deceptive” close; thus we are given at least six technical terms for one thing. If the student searches for the meaning of the term “musical period” he is referred back to “Close,” so that the definition is of the true dictionary type; merely a cross reference.