source file: mills2.txt Date: Fri, 6 Sep 1996 16:30:50 -0700 Subject: Re: TUNING digest 830 From: Lionel E Dotson > From: Gary Morrison <71670.2576@CompuServe.COM> > 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. Gary,what is an "authentic cadence" ? Pardon my ignorance:-) Ed Dotson ldotson@sprynet.com 73757.1062@compuserve.com Received: from ns.ezh.nl [137.174.112.59] by vbv40.ezh.nl with SMTP-OpenVMS via TCP/IP; Sat, 7 Sep 1996 18:25 +0200 Received: by ns.ezh.nl; (5.65v3.2/1.3/10May95) id AA26843; Sat, 7 Sep 1996 18:27:21 +0200 Received: from eartha.mills.edu by ns (smtpxd); id XA27130 Received: from by eartha.mills.edu via SMTP (940816.SGI.8.6.9/930416.SGI) for id JAA22290; Sat, 7 Sep 1996 09:27:19 -0700 Date: Sat, 7 Sep 1996 09:27:19 -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