Cadential idea
Caplin Ahead!
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The info on this page is either entirely based on or mostly based on the content published in caplin-2013 or caplin-1998. Caplin is considered to be responsible for reviving interest in the analysis of form in North American music theory.
While Caplin’s impact cannot be understated, it is worth understanding that his 1998 work (and his 2013 followup) are focused on Classical music: particularly the works of Haydn, Beethoven, and Mozart. It is important to not assume other styles of music (both preceding and following the classical era, or music in other parts of the world) follow these same conventions. Music theory is descriptive, not prescriptive, and so the theory you see describing what was common in the Classical era may not apply to anything else.
This is a term introduced in caplin-2013 (well, probably caplin-1998) that is not thoroughly defined. It effectively refers to the content of the cadential function. This content is typically formulaic in nature[1] – you will see very similar cadential ideas across different pieces from different composers.[2] They often include a falling contour.[1]
For a cadential idea to be… well, cadential, it needs to have a cadential progression. It will also end with a cadence.
References:
[1]: caplin-2013 p.55
[2]: caplin-2013 p.56