14:21:24 - Revision history

Pailiaq at 04:22, 26 May 2026

2026-05-26T04:22:40Z

← Older revision		Revision as of 04:22, 26 May 2026
Line 7:		Line 7:

	Its second rotation, '''12:14:21''', is also significant because it functions as the fifthless version of the septimal minor seventh chord, [[12:14:18:21]].		Its second rotation, '''12:14:21''', is also significant because it functions as the fifthless version of the septimal minor seventh chord, [[12:14:18:21]].

			{{chord edo approximation}}

TallKite at 23:34, 10 March 2026

2026-03-10T23:34:07Z

← Older revision		Revision as of 23:34, 10 March 2026
Line 1:		Line 1:
	{{Infobox Chord}}		{{Infobox Chord\|ColorName=ru-6 no-3 or r6no3}}
	'''14:21:24''' is a [[7-limit]] [[chord]] found as a subset of the subharmonic sixth chord, [[70:84:105:120]], or of the septimal major sixth chord, [[14:18:21:24]]. Due to having no fives, it is the first utonal chord that deviates from traditional harmony. As such, it is a candidate for [[metallic harmony]], a form of [[extraclassical tonality]] that employs 7 instead of 5 as its other prime.		'''14:21:24''' is a [[7-limit]] [[chord]] found as a subset of the subharmonic sixth chord, [[70:84:105:120]], or of the septimal major sixth chord, [[14:18:21:24]]. Due to having no fives, it is the first utonal chord that deviates from traditional harmony. As such, it is a candidate for [[metallic harmony]], a form of [[extraclassical tonality]] that employs 7 instead of 5 as its other prime.

Overthink: a few fixes

2026-01-22T20:54:26Z

a few fixes

← Older revision		Revision as of 20:54, 22 January 2026
Line 2:		Line 2:
	'''14:21:24''' is a [[7-limit]] [[chord]] found as a subset of the subharmonic sixth chord, [[70:84:105:120]], or of the septimal major sixth chord, [[14:18:21:24]]. Due to having no fives, it is the first utonal chord that deviates from traditional harmony. As such, it is a candidate for [[metallic harmony]], a form of [[extraclassical tonality]] that employs 7 instead of 5 as its other prime.		'''14:21:24''' is a [[7-limit]] [[chord]] found as a subset of the subharmonic sixth chord, [[70:84:105:120]], or of the septimal major sixth chord, [[14:18:21:24]]. Due to having no fives, it is the first utonal chord that deviates from traditional harmony. As such, it is a candidate for [[metallic harmony]], a form of [[extraclassical tonality]] that employs 7 instead of 5 as its other prime.

	Its first rotation, '''21:24:28''', is significant because it consists of the intervals [[8/7]] and [[7/6]] stacked on top of each other. The intervals in this chord divide the [[4/3\|perfect fourth]] rather than the [[3/2\|perfect fifth]], and contrast by [[49/48]], similarly to how [[5/4]] and [[6/5]] contrast by [[25/24]] in [[4:5:6]]. By swapping the order of 8/7 and 7/6, we get the otonal inverse of 21:24:28, that being [[6:7:8]].		Its first rotation, '''21:24:28''', is significant because it consists of the intervals [[8/7]] and [[7/6]] stacked on top of each other. The intervals in this chord divide the [[4/3\|perfect fourth]] rather than the [[3/2\|perfect fifth]], and contrast by [[49/48]], similarly to how [[6/5]] and [[5/4]] contrast by [[25/24]] in [[10:12:15]]. By swapping the order of 8/7 and 7/6, we get the otonal inverse of 21:24:28, that being [[6:7:8]].

	Another notable setting is the open voicing 7:12:21, which shares the property with 6:7:8 that its intervals, [[12/7]] and [[7/4]], contrast by 49/48, but they divide the [[3/1\|perfect twelfth]] instead~~. This also has the advantage of avoiding the unresolvedness of a dominant seventh chord that occurs in the 6:7:8 and 4:6:7 voicings~~. Its otonal version is 4:7:12, an open voicing of [[4:6:7]].		Another notable setting is the open voicing 7:12:21, which shares the property with 21:24:28 that its intervals, [[12/7]] and [[7/4]], contrast by 49/48, but they divide the [[3/1\|perfect twelfth]] instead. Its otonal version is 4:7:12, an open voicing of [[4:6:7]].

	Its second rotation, '''12:14:21''', is also significant because it functions as the fifthless version of the septimal minor seventh chord, [[12:14:18:21]].		Its second rotation, '''12:14:21''', is also significant because it functions as the fifthless version of the septimal minor seventh chord, [[12:14:18:21]].

FloraC: Creation

2026-01-20T16:14:43Z

Creation

New page

{{Infobox Chord}}
'''14:21:24''' is a [[7-limit]] [[chord]] found as a subset of the subharmonic sixth chord, [[70:84:105:120]], or of the septimal major sixth chord, [[14:18:21:24]]. Due to having no fives, it is the first utonal chord that deviates from traditional harmony. As such, it is a candidate for [[metallic harmony]], a form of [[extraclassical tonality]] that employs 7 instead of 5 as its other prime.

Its first rotation, '''21:24:28''', is significant because it consists of the intervals [[8/7]] and [[7/6]] stacked on top of each other. The intervals in this chord divide the [[4/3|perfect fourth]] rather than the [[3/2|perfect fifth]], and contrast by [[49/48]], similarly to how [[5/4]] and [[6/5]] contrast by [[25/24]] in [[4:5:6]]. By swapping the order of 8/7 and 7/6, we get the otonal inverse of 21:24:28, that being [[6:7:8]].

Another notable setting is the open voicing 7:12:21, which shares the property with 6:7:8 that its intervals, [[12/7]] and [[7/4]], contrast by 49/48, but they divide the [[3/1|perfect twelfth]] instead. This also has the advantage of avoiding the unresolvedness of a dominant seventh chord that occurs in the 6:7:8 and 4:6:7 voicings. Its otonal version is 4:7:12, an open voicing of [[4:6:7]].

Its second rotation, '''12:14:21''', is also significant because it functions as the fifthless version of the septimal minor seventh chord, [[12:14:18:21]].