source file: mills2.txt Date: Fri, 14 Mar 1997 11:18:36 -0800 Subject: Re: Milne/Wolf 4-5-6-7-8 and Gr Aug6th/Fr Aug6th chords From: ribarbe@garlic.com (Atlas Eclipticalis) Andrew Milne quoted and commented: >Daniel Wolf wrote: > >> These features are enhancements of >> the dominant/tonic voice leading relationship: root movement by fifth, and >> stepwise ''resolution'' in the remaining voices. >Root movement by a fifth is certainly a powerful and satisfying >resolution of the dominant 7th chord, but it is not the only acceptable >resolution. V7 resolves well to vi (minor) as well (i.e. up a major >second), and the augmented sixth chord (e.g. g - b - d - e#) - which is >another chord that I think would be incorrectly represented by a 4-5-6-7 >tuning - resolves most effectively to a major or minor chord a *minor >second* below. > >The stepwise resolution of the intervals making up the tritone in both >these chords is, I believe, the *critical* factor which determines their >resolution. >For these reasons, and the arguments above, I really think that using >4-5-6-7 in common-practice tonal music is not appropriate. > >Using this ratio in a xenharmonic music is of course a different matter! I would like to bring to light another augmented sixth chord that may or may not be appropriate to the 4-5-6-7-8 topic, but maybe a new one. Im thinking about the "French Augmented 6th chord". It came up in today's music class (De Anza College / Dr. Paul Setziol) while discussing Schubert's _Der_Doppelganger_ C. 957 song. The b minor piece basically ambiguously toys with the b minor and f# major sonorities. In mm 32-33 the chord is C E F# A#, the Fr6. My teacher describes it as a non-tertian sonority. Its intruiging placement in the music is that is resolves to b minor, and not to e minor, which is the traditional progression. He also talks about the roles of each within the voice-leading context, and delegates the acoustical context to claiming it's "non-tertian", not based on a acoustic triad like the 4-5-6 relationship. What is the acoustical basis for this chord / unique sonority? What is the tuning implications of using a non-tertian sonority as a dominant or penultimate or half-cadence function? Id like to tie in the traditional music theory with something more responsible to current paradigms/controversies.... etc etc Richard E Barber. Received: from ns.ezh.nl [137.174.112.59] by vbv40.ezh.nl with SMTP-OpenVMS via TCP/IP; Fri, 14 Mar 1997 23:08 +0100 Received: by ns.ezh.nl; (5.65v3.2/1.3/10May95) id AA18707; Fri, 14 Mar 1997 23:08:11 +0100 Received: from ella.mills.edu by ns (smtpxd); id XA18705 Received: from by ella.mills.edu via SMTP (940816.SGI.8.6.9/930416.SGI) id OAA09388; Fri, 14 Mar 1997 14:06:14 -0800 Date: Fri, 14 Mar 1997 14:06:14 -0800 Message-Id: Errors-To: madole@mills.edu Reply-To: tuning@ella.mills.edu Originator: tuning@eartha.mills.edu Sender: tuning@ella.mills.edu