Interesting cadential elaborations

Going over the blogged analyses this semester, a number of interesting cadences caught my attention:

1. 童话 (Alisa, 29 Mar 08)
bs. 27-29: the V-I cadence is delayed by a scalic descending bassline harmonized as V7-IV-I6-ii-I (in my version of the score, it is V7-IV-I6-ii7-I where the ii7 sustains the F inverted pedal). In one sense, this is a twist to the conventional Amen appendix (V-I-IV-I): it is as if the plagal expansion of I is now IN the perfect cadence itself.
The IV-I6-ii(7)-I here also reminds me of the IV-iii7-ii7-I in Dallas Blair's choral arrangement of "O Sacred Head" (bs. 14-15) which we examine in our online lesson. There, of course, I hear the ii7-I as a substitute harmonization of the standard plagal cadence.
In comparison, I find the closing vi-ii-I in "Ashita Hareru Kana" (Joel, 19 Feb 08) less musically effective. Earlier in the song, the insertion of a bVI-bVII-I after vi-ii in the chorus (p. 3, 2nd system) is hardly more effective.

2. Misty (JinXing, 8 Feb 08)
The antecedent phrase ends with an imperfect cadence, harmonically speaking. On closer examination, the cadencing is hardly straightforward. First of all, the vocal line seems to cadence across bs. 10-11, which on its own would suggest a perfect cadence. However, the closing melodic G note is harmonized by a series of circle-of-fifths added-note dominant 7th chords (G7b5-C7-F7b5-Bb7), bring the music back to the Bb7 at b. 10 (the G functioning like an added 6th waiting to resolve to F). It sounds like the G7b5 chord veers the music off-tangent but eventually returns. As such, one may regard the structural cadence for the phrase to be the ii7-V7 at b. 10--this is of course conceptual; aurally, it is easier to hear the local imperfect cadence at b. 12.

3. "Oh, the Glory of Your Presence" (Ainsley, 30 Mar 08)
This is less uncommon but still worth mentioning here. Instead of a simple cadential repetition involving an interrupted cadence the first time followed by a perfect cadence, the interrupted cadence here has a cadential 6/4 that elides its ensuing 5/3 and moves to tonicize vi instead. The vi is then linked to the returning V by a passing mixture 4/3 chord. This second V, incidentally, does resolves its 6/4.

4. "Unfaithful" (Nat, 3 Mar 08)
The cadences here are of course modal or plagal: two Bb-Cm (VII-i) and one iv-i. What I find interesting is the use of anticipation in the vocal line such that the final melodic note actually sounds dissonant against the penultimate cadential chord.