Barbershop 7th

> > > 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