TUNING digest 832

> From: Gary Morrison <71670.2576@CompuServe.COM>
> To: Tuning List
> Subject: Re: 4:5:6:7 in Authentic Cadence
> Somebody asked:
> > I may be mistaken here, but I think that authentic cadences aren't
> > terribly common in barbershop style.

> > Gary,what is an "authentic cadence" ?
>
> I started to answer that question with a series of dreadful textbookish definitions, but the answer would almost certainly clearer by
example.
>In the key of C major, an authentic cadence is the chord progression from the chord GBDF to CEG.

That would be a V7(1 oclk chrd) to a I major triad(12 oclk)..or even less
dreadful, sol-ti-re-fa to do-mi-sol-do(or do-sol-do-mi). If it don't
resolve to I major it ain't bbshop.

>That is as opposed to a plagal cadence (for example) which in C major is FAC to CEG. Or as opposed to (probably) the most common form of
deceptive cadence: GBDF to ACE.

This would be The 11 oclk=IV7 to I major...the churchchord resolution...a
fine way to end a song. GBDF to ACE is resolving(?) to a 6th..frowned on
in bbshop.

> Obviously you can transpose those progressions into whatever key you'd like.
> That progression (the authentic cadence) is extremely common in Western music as a whole, but I seem to recall - again, perhaps
incorrectly - that virtually all chords in barbershop work are (dominant)
seventh chords. In that case you would not technically have an authentic
cadence, since the tonic chord would be a seventh chord. (That could be
used as a fragment of a chain of secondary dominants, but perhaps I ought
not get into that.)

Yeah, you ought to leave this alone since it doesn't seem that you've
ever heard bbshop harmony. 95% of bbshop chrds consist of 1: major
triads;2: 7ths;3: minor 7ths(flat 3rd)4: minor 7ths flat 5;5: and least,
minor triads. Good bbshop should contain at least 35% 7ths and less than
5% of diminished chrds=root,flat 3rd,flat 5th,flat 7th(6th).


Ed Dotson
ldotson@sprynet.com
73757.1062@compuserve.com


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Date: Sun, 8 Sep 1996 21:52:29 -0700
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