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dhodge wrote:Not sure this is a "canned" way or not, but the easiest way to establish yourself in a new key (however temporarily) is to use the V chord of that key to create what's known as a "perfect cadence" (or "V to I" in layman's terms).
NoteBoat wrote:Tsk, tsk David... a "perfect cadence" is one in which both chords are in root position, and the root is doubled on the resolution, appearing as both the bass and soprano voices. Any type of cadence can be perfect; a V-I is an "authentic" cadence. So...
G7 -> C, (320001 -> x32010) is NOT a perfect cadence (because the root isn't the soprano), but G7 -> C, (320001 -> x3201x) IS a perfect cadence. F -> C (x-x-10-10-10-13 -> x-x-10-9-8-8) is also a perfect cadence, but not an authentic one... it's plagal.
Now about that Oxford Music Dictionary definition... don't leave out the next paragraph:
To any of the dominant chords above mentioned the 7th may be added. Any of the chords may be taken in inversion, but if that is done in the case of the perfect cadence its effect of finality (i.e. its â€˜perfectionâ€™) is lost.
So the Brits may call the "authentic" cadence "perfect"... but only when it's a "perfect authentic cadence"! If it's an imperfect authentic cadence they're speaking of, I believe the accepted British term is "inverted perfect cadence" - so in either country, speaking of a "perfect" cadence implies the correct voicing.
NoteBoat wrote:Yes, there are definate differences in terminology between British and American music terms.
Alan Green wrote:And the jazz way is
I - I#dim - ii - V7 - I
So do the I and I#dim in the original key (say D -> D#dim). The dim chord has two tritones in it so you could be going anywhere, and what you do is a ii - V7 - I in the new key (say Gm -> C7 -> F) Et voila.
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