This article presents a methodology for using the web-based CRIM Intervals software to analyze cadences in a corpus of music. Specifically, I examine the cadences in the English In Nomine repertoire, looking at their structure and how they correspond to Thomas Morley’s definition of closes. This is all discussed in relation to the various tools available in the CRIM Intervals, as well as to the general questions of musical similarity posed by Richard Freedman in the CRIM (‘Citations: the Renaissance Imitation Mass’) project.