Mixed Cadenza

Are you studying from a particular book? Terminologies are often different from theorist to theorist. I have never heard of a mixed cadence. Perhaps we are talking about a compound cadence, but I wouldn't know...

briefly, anyway, a cadence is a concatenation of chords that serves to conclude, articulate, or connect a musical moment.

A perfect cadence is the V-I (dominant-tonic) concatenation in ROOT position.

An imperfect cadence is the V-I concatenation where at least one of the chords is in INVERSION.

A compound cadence is a cadence, perfect or imperfect, where before the dominant there is a subdominant chord (IV, II, VI, III) or a I in second inversion.

A deceptive cadence [avoided cadence] is a cadence in which after the V there is no tonic but the V of another key.

A suspended cadence is a cadence that does not start from the V but from the I, and concludes on a dominant chord. Typical example, the I-V sequence.

A deceptive cadence [cadenza d'inganno] is a cadence that goes from the V to the VI, generally in root position because it "fakes" the perfect cadence.

A plagal cadence is the IV-I sequence.

We speak of a masculine cadence when the dominant is on the weak beat and the tonic is on the strong beat of the following measure; a feminine cadence when the dominant is on the strong beat and the tonic is on the weak beat of the same measure.

I must have forgotten something for sure...

... with masculine/feminine, does it not refer to the rhythm?

Thallo is right, you have given all the relevant examples; I will try to give "my" take, perhaps Azzurro is referring to truncated and plain cadences regarding form rather than harmony,

as Ludovica asked, she has probably read these notions written with terms different from truncated cadence and plain cadence.

In rhythm, the truncated cadence (or masculine) is determined "by the arrival" on a single note or chord; for example, take a melodic line in 4/4, in one measure

you have a rhythmic configuration consisting of 2 quarter notes and 4 eighth notes; in the following measure, on the strong beat, you have a single note with a value between a quarter note (followed by 3 rests

of the same value), a half note (followed by a rest of the same value), or a whole note; thus constituted, this measure is rhythmically defined as a truncated cadence because it possesses a decisive character (I personally disagree with this definition, I mean on an anthropological level, because humanity has gone on for centuries saying that man must be strong, decisive, must protect, and in the end cannot show even a minimum of "weakness" and "sentimentalism" without criticism immediately starting); the plain cadence (or feminine), instead, consists of a "continuous" rhythm, meaning that on the strong beat you could have 2 eighth notes in a row, or another type of subdivision or 2nd degree subdivision, for example, that does not indeed give a sense of firmness to the melodic phrase.

According to Farina, the mixed cadence is one in which all the strong degrees are touched (in the order IV-V-I): for example IV - V______ - I (on the IV the 6 is often used, so a II6; on the V the 46 as an appoggiatura to the 35).

Never had or known the Farina

If IV V I works, then will II V I also work, but also II V VI, etc. ?

In effect, Zedef, in context, Farina's name was mentioned to me; anyway, thanks also to Thallo's post, the matter is a bit less tangled for me. In reality, I'm struggling a little... but...