Cadenza

[3] Initially, cadenzas were more simple and structured - a performer would add small embellishments such as trills to the end of cadences.

Typically during the classical period, a solo cadenza in a concerto would end with a trill, usually on the supertonic, preceding the re-entry of the orchestra for the movement's coda.

[8] Third parties also wrote cadenzas for works in which it was intended by the composer to be improvised, so the soloist could have a well formed solo that they could practice in advance.

20, and Estelle Liebling's edition of cadenzas for operas such as Donizetti's La fille du régiment and Lucia di Lammermoor.

More sardonically, jazz critic Martin Williams once described Coltrane's improvisations on "Africa/Brass" as "essentially extended cadenzas to pieces that never get played.

[citation needed] Cadenzas are also found in instrumental solos with piano or other accompaniment, where they are placed near the beginning or near the end or sometimes in both places (e.g. the cornet solo "The Maid of the Mist" by Herbert L. Clarke, or the end of "Think of Me" in Andrew Lloyd Webber's The Phantom of the Opera, where Christine Daaé sings a short but involved cadenza).