Harmony: playing a period with an interrupted cadenza

We continue the theme of the game of modulations. In the previous article, we found out that in order to play modulations, we need some basis, which is often the period (in general, more often, only his second sentence is played).

This article was called "Harmony: a period for the game," you can read it by clicking on the highlighted words. If the hyperlink does not work, try searching for it under the heading "Study materials" in the left side menu of the site, or simply type the name of the article in the search box. The greatest value of the article are musical examples of the period for the game. Now I propose to consider the same period, but in a different form.

The game of periods with the second sentence extended by introducing an interrupted cadence is the stage preparing the modulation game as such. And that's why. Firstly, such a period in itself can lead to modulation: well, for example, purely in a functional sense, when level VI (natural or low) serves as a general chord, equating two tones. Secondly, in the acoustic sense, the elliptical turn of the D7-VI prepares the ear of the musician for transitions that are unexpected in their sound effect. One would like to note that actually the ear of the musician is already trained, but in the harmonic task the music is served in such a small portion that, compared to the sound streams of large musical compositions with their frequent and numerous changes of harmonies, hearing reacts to such transitions more acutely.

So, the major period with the interrupted cadence:

Here the second sentence is expanded, it contains two cadenzas, one of them is an imperfect interrupted cadence (measures 7–8), in which instead of tonic is given the sixth stage, the other is the final with perfect tonic (measures 9–10). I will not say that a simple repetition of the cadence itself for this period, rather, on the contrary, so you can change something in the last cadence. I played completely differently (I don't like it either). To achieve a climax, you can raise the upper voice tessitura (at least at the level of a single move), enter a dotted rhythm (as if arranging tones before the end) or add unprepared retention in the last measure. I, as a lover of imperfect cadenzas, would simply complete the construction of the quinte in tune in the melodic position, but unfortunately, in the context of the learning task, this is inadmissible.

Let's see at the same time this construction, only in the minor minor mode of the same name:

How well the sixth step sounds in minor! It could be introduced in the major (in its harmonic form, plus lowering the third step), then right from that moment it would be possible to bring everything to the last cadzan in minor. I think that in the contrasting frets the repetition of cadenzas is justified, and moreover, it is expressive. Yes, by the way, in this case, a modulation from major to minor with the same name would be very simple in terms of technique.