Composition of Perfect Cadence

I really enjoyed experimenting with the different possibilities when writing a Perfect cadence.  I found that using both major and minor keys enabled me to play around with different moods and motions. 

My first composition is in C-major and moves from the dominant chord (G) to the tonic (C), but passes through the subdominant (F).   I suppose that technically this doesn’t achieve perfect cadence with the movement of IV – I, but as it has been written as a ‘passing phrase’ I feel that it works well in this instance. 

The use of a major key and the use of a Moderato tempo keep the piece feeling bright and the use of triplets gives the overall composition a delicate and light feel.  When composing the bass line for this piece, I wanted it to be a harmonic accompaniment of the treble, but without overshadowing it.  To achieve this I kept the bass line relatively simple, but ensured that it didn’t ‘get lost’ by introducing the longer triplet and use of notes such as Bb, which do not normally correspond to the scale. 

My second cadence in D minor carries a darker and deeper feel, mainly due to its composition on two bass lines.  Its almost militant rhythm is interrupted with short staccato quaver runs, moving solidly from v – i.  Unlike my last cadence, I wanted both staves to carry equal relevance, so I tried to mimic the rhythm on both lines and imitate various phrases to a textural detail. 

This more playful and up-tempo cadence is another simple movement from V – I.  Here I have tried to intertwine the two melodies to give the impression of them playing together.  I have used very simple dynamics of mf in this piece and a mood direction of Scherzando to ensure that the simplistic nature of the piece can be heard. 

This cadence carries a much brighter feel than my previous attempts.  I feel that the ‘jump’ to the tonic chord at the end is a good portrayal of the excitement and the two melodic lines excitedly closing. 

My final cadence in F-minor holds a much more mysterious feel, making use of a large range of the fifth, supertonic and tonic chords.  I have used Arpeggio chord lines to aid the dramatic feel and a direction of Expressivo to indicate the emotion behind this piece.  Between these dramatic points I have kept the melody simple and flowing and have made heavy use of slurred sections and varying dynamics.