[Smt-talk] Rép. : Nature and Labeling of the Cadential Six-Four

[Eve Poudrier]

Dear Dimitar,

You write: "Such moments defy the notion of suspensions or appoggiaturas to V, 
because what is being introduced is suspensions or appoggiaturas to I, 
only that the vertical sonority is not I but I6/4."

Unless I misunderstand, there is a contradiction here. I6/4 cannot be made-up of suspensions or appoggiaturas to I. The sixth and fourth above ^5 are chord members of I.

The next statement confuses me: "A 9-8 suspension to I, or a 4-3 suspension to I, each of them harmonized
 by the cadential six-four." What would that verticality look like? In the key of C, I imagine we would find G in the bass (the cadential element), then D (the "9-8 suspension to I"), and F (the "4-3 suspension to I"). Why would call this "cadential 6/4"? It is just a dominant 7 chord.

Best,
Ève Poudrier


--- En date de : Dim, 12.2.12, Ninov, Dimitar N <dn16 at txstate.edu> a écrit :

De : Ninov, Dimitar N <dn16 at txstate.edu>
Objet : [Smt-talk] Nature and Labeling of the Cadential Six-Four
À : "smt-talk at lists.societymusictheory.org" <smt-talk at lists.societymusictheory.org>
Date: dimanche 12 février 2012 10 h 44

Dear Ciro,

Thank you for the comment. At the moment of occurrence which occupies the beat taken by the cadential alone, you label it as V-6/4. This is what is confusing. But how would you label it when you resolve non-chord tones into it as if it were a tonic? Such moments defy the notion of suspensions or appoggiaturas to V, because what is being introduced is suspensions or appoggiaturas to I, only that the vertical sonority is not I but I6/4. A 9-8 suspension to I, or a 4-3 suspension to I, each of them harmonized by the cadential six-four. What would you say about that?

Best regards,

Dimitar
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