This project asks us to compose several ‘dressed up’ perfect cadences. My first is in D major, and uses a crescendo and a diminuendo to direct the phrase towards resolving into the tonic:
My second example is in C minor, and I have chosen a syncopated, jazzy style. By having an emphasis on the Ab in the right hand (a semitone above the dominant note), I think this has the effect of prolonging the cadence.
The next is in G minor, and uses a repeated sequence of the left hand dominant chord first in root position (including the 7th) and then in third inversion. I think the third inversion form of the chord particularly seems to lead to the resolution as the bass note is the 2nd note in the home scale, and so has the feeling of wanting to fall down to the G.
My final example is in C major, and I have used a dominant 7th chord as the basis for the left hand with the 7th in the bass. In the melodic line I have chosen to place the emphasis at the start of each bar on particular notes of the home scale (6th, 4th, and 2nd), which again give the feeling of needing a resolution.