Elaborate Cadences

 For this exercise, we are asked to make four contrasting attempts at 'dressing up' a perfect cadence, each in a different key, of which two should be major, and two minor. I was looking forward to attempting this exercise, as the theory is straightforward but there is lots of room for creativity.

Elaborate Cadence 1 - A Major

 

 

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For this first cadance the left hand follows the basic cadential progression of V7 - I, in the form of sustained chords. The right hand initially starts with a dotted rhythm using notes of the chord, but in bar two becomes a descending chromatic triplet pattern, before resolving simultaneously with the bass on chord I. The chromatic notes in no way distract the ear from the very strong harmonic movement, strengthened with the use of effective voice-leading to create contrary motion.

Elaborate Cadence 2 - B Major

 

 

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For this cadence all of the notes are diatonic to the key. To create interest I opted to use 'extended' chords; the right hand playing V9, then V11, then V13 before a simple chord V triad, and a rhythmic use of three tonic chords. Some people may recognise this cadence to be very similar to that used at the end of Burgmuller's etude The Storm; I did heavily borrow from that piece, but experimented with my own choice of chords.

Elaborate Cadence 3 - C Minor

 

 

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I wanted to see if I could compose my own version of the baroque/classical cadence that I heard in my research pieces. The left hand plays the dominant triad in alberti bass style, and with the right hand I wanted to include some chromaticism to see if I could 'throw off' the cadence. The right hand starts with an arpeggiated diminished 7th chord before returning to notes of the scale, with more rhythmic vitality. The move to chord I is anticipated with a fast trill in the right hand, terminating with a mordent onto the tonic. The sense of a perfect cadence is strong throughout.

Elaborate Cadence 4 - B Minor

 

 

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This cadence has a Latin feel, due to the key, syncopation and jaunty rhythm. All notes are diatonic to the key aside from the raised 7th note of the scale. The resolution to the tonic feels prolonged as the arpeggio figure in the bass falters on the leading note, finally resolving in bar five.

Conclusion

 

This was a fun exercise, and as stated in the introduction it's all about the creativity. There's little in the way of technical work, as a perfect cadence is always V - I; its about how you can creatively express the chord change. The exercise also demonstrates how strong the cadence is, and how it exerts its dominance even with varying rhythms or chromatic melodies.