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It is my pleasure to announce the publication of my article "Functional Nature of the Cadential Six-Four" (Musicological Annual LII/1, 2016). It is the fruit of many years of research, teaching, discussions, and practical music making. The paper is unorthodox and it challenges the conventional view of the cadential six-four chord; I promote the idea that it is not a mere dominant with two accented non-chord tones, but a unique bi-functional chord where a conflict between tonic and dominant is manifest. This concept allows the explanation of all possible appearances of the chord in question and clarifies various cases in which the structural equality of the Cad.6/4 with the tonic triad is explored musically, e.g. when non-chord tones and altered chords resolve into Cad.6/4 as if they resolve into a tonic.
The cadential six-four as a temporary point of resolution is a new concept that has not been explored much in our theoretical musicology. Besides, I revisit the perfect fourth as an interval and argue that it is a true consonance which can create the impression of a simulated or feigned dissonance under certain circumstances. Among other situations, I also compare a true dominant with suspensions to the cadential six-four and draw the conclusion that the former is always a self-contained function which is capable of producing an authentic resolution without handling the suspensions prior to connecting the tonic, while the latter always needs a true dominant between itself and the tonic - this is why there is no such an "authentic cadence" as Cad.6/4 - Tonic. Last but not least, I review the weak types of six-four chords and bring up an intriguing case of "fusion" between cadential six-four and accented passing six-four.
If some of you are interested in this matter and the six-four chords in general, please contact me personally, and I could possibly forward them the PDF file for their own reference.
Thank you for your attention. Best regards,
Dr. Dimitar Ninov
School of Music
Texas State University, San Marcos