source file: mills2.txt Date: Fri, 6 Sep 1996 07:07:47 -0700 Subject: Re: Barbershop 7th From: Gary Morrison <71670.2576@compuserve.com> > > > Now understand that I don't doubt for a moment that tuning the seventh sharper produces a MORE satisfying resolution. But 7:4 provides a > > > >completely satisfying resolution to my ears, and many others'. > > Hey Gary, I didn't say the above. True; *I* said that. I was directing that particular comment not toward you as much as toward those who have commented over the list that 4:5:6:7 isn't discordant enough to function as a dissonance. And also, I was not intending my reply to address barbershop Qtet specifically, but what sounded like an overgeneralization that 4:5:6:7 is consonant and a sharper seventh makes it dissonant. I have found that to depend heavily upon musical context, so as a counterexample, I pointed out that 4:5:6:7 functions quite effectively as a dissonance in the context of an authentic cadence. I used an authentic cadence as an example because it is almost certainly the single most common chord progression involving dominant seventh chords. I may be mistaken here, but I think that authentic cadences aren't terribly common in barbershop style. Received: from ns.ezh.nl [137.174.112.59] by vbv40.ezh.nl with SMTP-OpenVMS via TCP/IP; Fri, 6 Sep 1996 19:28 +0200 Received: by ns.ezh.nl; (5.65v3.2/1.3/10May95) id AA25577; Fri, 6 Sep 1996 19:29:29 +0200 Received: from sun4nl.NL.net by ns (smtpxd); id XA25613 Received: from eartha.mills.edu by sun4nl.NL.net (5.65b/CWI-3.3) id AA16290; Fri, 6 Sep 1996 19:29:26 +0200 Received: from by eartha.mills.edu via SMTP (940816.SGI.8.6.9/930416.SGI) for id KAA22828; Fri, 6 Sep 1996 10:28:00 -0700 Date: Fri, 6 Sep 1996 10:28:00 -0700 Message-Id: Errors-To: madole@ella.mills.edu Reply-To: tuning@eartha.mills.edu Originator: tuning@eartha.mills.edu Sender: tuning@eartha.mills.edu