6:7:9 - Revision history

Pailiaq at 04:13, 26 May 2026

2026-05-26T04:13:14Z

← Older revision		Revision as of 04:13, 26 May 2026
Line 6:		Line 6:

	The 6:7:9 triad and its inverse 14:18:21 are nonetheless useful in tertian harmony, bringing new flavors not found in the 5-limit.		The 6:7:9 triad and its inverse 14:18:21 are nonetheless useful in tertian harmony, bringing new flavors not found in the 5-limit.

			{{chord edo approximation}}

	== See also ==		== See also ==

Overthink: separate sentence

2025-12-22T10:01:08Z

separate sentence

← Older revision		Revision as of 10:01, 22 December 2025
Line 3:		Line 3:
	'''6:7:9''', the ''subminor triad'' or ''septimal minor triad'', is a triad in the [[7-limit]] sometimes used in place of a [[minor triad]]. It appears as a minor triad in the [[5L 2s\|diatonic scale]] of [[superpyth]], as [[64/63]] being tempered out means [[32/27]] is equated with [[7/6]]. This is in contrast to [[meantone]], where 32/27 is equated with [[6/5]], and thus the minor triad becomes [[10:12:15]].		'''6:7:9''', the ''subminor triad'' or ''septimal minor triad'', is a triad in the [[7-limit]] sometimes used in place of a [[minor triad]]. It appears as a minor triad in the [[5L 2s\|diatonic scale]] of [[superpyth]], as [[64/63]] being tempered out means [[32/27]] is equated with [[7/6]]. This is in contrast to [[meantone]], where 32/27 is equated with [[6/5]], and thus the minor triad becomes [[10:12:15]].

	6:7:9 is the second-simplest [[otonal]] {{w\|tertian harmony\|tertian}} triad, past [[4:5:6]], and is thus very [[consonant]]. The inverse of 6:7:9 is [[14:18:21]], the supermajor triad. These triads can be used in the same way as the 5-limit ones, leading to a septimal version of tertian harmony. However, this has a number of issues. First of all, [[14:18:21]] may sound unstable due to its relatively high otonal complexity. In addition, the [[7/6]] and [[9/7]] intervals differ by [[54/49]], an interval of 168 [[cent]]s, unlike [[5/4]] and [[6/5]], which differ by [[25/24]], an interval only about 71 cents in size. This means the 6:7:9 and 14:18:21 chords don't contrast as well as the 5-limit 4:5:6 and 10:12:15 chords. Another important fact is that the 6:7:9 chord doesn't contain the root, though it is a subchord of [[4:5:6:7:9]] which does. ~~These triads~~ are nonetheless useful in tertian harmony, bringing new flavors not found in the 5-limit.		6:7:9 is the second-simplest [[otonal]] {{w\|tertian harmony\|tertian}} triad, past [[4:5:6]], and is thus very [[consonant]]. The inverse of 6:7:9 is [[14:18:21]], the supermajor triad. These triads can be used in the same way as the 5-limit ones, leading to a septimal version of tertian harmony. However, this has a number of issues. First of all, [[14:18:21]] may sound unstable due to its relatively high otonal complexity. In addition, the [[7/6]] and [[9/7]] intervals differ by [[54/49]], an interval of 168 [[cent]]s, unlike [[5/4]] and [[6/5]], which differ by [[25/24]], an interval only about 71 cents in size. This means the 6:7:9 and 14:18:21 chords don't contrast as well as the 5-limit 4:5:6 and 10:12:15 chords. Another important fact is that the 6:7:9 chord doesn't contain the root, though it is a subchord of [[4:5:6:7:9]] which does.

			The 6:7:9 triad and its inverse 14:18:21 are nonetheless useful in tertian harmony, bringing new flavors not found in the 5-limit.

	== See also ==		== See also ==

Overthink: Improve second paragraph

2025-12-22T09:51:45Z

Improve second paragraph

← Older revision		Revision as of 09:51, 22 December 2025
Line 3:		Line 3:
	'''6:7:9''', the ''subminor triad'' or ''septimal minor triad'', is a triad in the [[7-limit]] sometimes used in place of a [[minor triad]]. It appears as a minor triad in the [[5L 2s\|diatonic scale]] of [[superpyth]], as [[64/63]] being tempered out means [[32/27]] is equated with [[7/6]]. This is in contrast to [[meantone]], where 32/27 is equated with [[6/5]], and thus the minor triad becomes [[10:12:15]].		'''6:7:9''', the ''subminor triad'' or ''septimal minor triad'', is a triad in the [[7-limit]] sometimes used in place of a [[minor triad]]. It appears as a minor triad in the [[5L 2s\|diatonic scale]] of [[superpyth]], as [[64/63]] being tempered out means [[32/27]] is equated with [[7/6]]. This is in contrast to [[meantone]], where 32/27 is equated with [[6/5]], and thus the minor triad becomes [[10:12:15]].

	6:7:9 is the second-simplest [[otonal]] {{w\|tertian harmony\|tertian}} triad, past [[4:5:6]], and is thus very [[consonant]]. However, ~~its inverse~~, [[14:18:21]], may sound ~~less stable~~ due to its ~~higher~~ otonal complexity. In addition, the [[7/6]] and [[9/7]] intervals differ by [[54/49]], an interval of 168 [[cent]]s, which means the ~~subminor~~ and ~~supermajor triads~~ don't contrast ~~very~~ well the ~~same way~~ 5-limit ~~triads do~~. ~~Nonetheless~~, ~~these~~ triads ~~may be used~~ in ~~progressions together with~~ the 5-limit ~~ones~~.		6:7:9 is the second-simplest [[otonal]] {{w\|tertian harmony\|tertian}} triad, past [[4:5:6]], and is thus very [[consonant]]. The inverse of 6:7:9 is [[14:18:21]], the supermajor triad. These triads can be used in the same way as the 5-limit ones, leading to a septimal version of tertian harmony. However, this has a number of issues. First of all, [[14:18:21]] may sound unstable due to its relatively high otonal complexity. In addition, the [[7/6]] and [[9/7]] intervals differ by [[54/49]], an interval of 168 [[cent]]s, unlike [[5/4]] and [[6/5]], which differ by [[25/24]], an interval only about 71 cents in size. This means the 6:7:9 and 14:18:21 chords don't contrast as well as the 5-limit 4:5:6 and 10:12:15 chords. Another important fact is that the 6:7:9 chord doesn't contain the root, though it is a subchord of [[4:5:6:7:9]] which does. These triads are nonetheless useful in tertian harmony, bringing new flavors not found in the 5-limit.

	== See also ==		== See also ==
	* [[14:18:21]] - the supermajor triad		* [[14:18:21]] - the supermajor triad
			* [[6:7:8:9]] - adds [[4/3]]
	* [[6:7:9:10]] - adds [[5/3]]		* [[6:7:9:10]] - adds [[5/3]]

	{{Todo\|~~expand\|improve readability~~\|research\|inline=1\|text=This chord may be closely connected to 7-limit interpretations of the Blues scale.}}		{{Todo\|add sound example\|research\|inline=1\|text=This chord may be closely connected to 7-limit interpretations of the Blues scale.}}

	[[Category:Minor triads\|#]] <!-- 1-digit first number -->		[[Category:Minor triads\|#]] <!-- 1-digit first number -->

FloraC at 09:19, 22 December 2025

2025-12-22T09:19:47Z

← Older revision		Revision as of 09:19, 22 December 2025
Line 1:		Line 1:
	{{Infobox Chord\|ColorName=zo or z}}		{{Infobox Chord\|ColorName=zo or z}}

	'''6:7:9''', a ''subminor triad'' or ''septimal minor triad'', is a triad in the [[7-limit]] sometimes used in place of a [[minor triad]]. It appears as a minor triad in the [[5L 2s\|diatonic scale]] of [[superpyth]], as [[64/63]] being tempered out means [[32/27]] is equated with [[7/6]]. This is in contrast to [[meantone]], where 32/27 is equated with [[6/5]], and thus the minor triad becomes [[10:12:15]].		'''6:7:9''', the ''subminor triad'' or ''septimal minor triad'', is a triad in the [[7-limit]] sometimes used in place of a [[minor triad]]. It appears as a minor triad in the [[5L 2s\|diatonic scale]] of [[superpyth]], as [[64/63]] being tempered out means [[32/27]] is equated with [[7/6]]. This is in contrast to [[meantone]], where 32/27 is equated with [[6/5]], and thus the minor triad becomes [[10:12:15]].

	6:7:9 is the second-simplest [[otonal]] triad ~~of the form Root-3rd-P5~~, past [[4:5:6]], and is thus very [[consonant]]. However, its inverse, [[14:18:21]], may sound less stable due to its higher otonal complexity. In addition, the [[7/6]] and [[9/7]] intervals differ by [[54/49]], an interval of 168 [[cent]]s, which means the subminor and supermajor triads don't contrast very well the same way 5-limit triads do. Nonetheless, these triads may be used in progressions together with the 5-limit ones.		6:7:9 is the second-simplest [[otonal]] {{w\|tertian harmony\|tertian}} triad, past [[4:5:6]], and is thus very [[consonant]]. However, its inverse, [[14:18:21]], may sound less stable due to its higher otonal complexity. In addition, the [[7/6]] and [[9/7]] intervals differ by [[54/49]], an interval of 168 [[cent]]s, which means the subminor and supermajor triads don't contrast very well the same way 5-limit triads do. Nonetheless, these triads may be used in progressions together with the 5-limit ones.

	== See also ==		== See also ==

Overthink: note classical minor triad

2025-12-22T08:59:10Z

note classical minor triad

← Older revision		Revision as of 08:59, 22 December 2025
Line 1:		Line 1:
	{{Infobox Chord\|ColorName=zo or z}}		{{Infobox Chord\|ColorName=zo or z}}

	'''6:7:9''', a ''subminor triad'' or ''septimal minor triad'', is a triad in the [[7-limit]] sometimes used in place of a [[minor triad]]. It appears as a minor triad in the [[5L 2s\|diatonic scale]] of [[superpyth]], as [[64/63]] being tempered out means [[32/27]] is equated with [[7/6]]. This is in contrast to [[meantone]], where 32/27 is equated with [[6/5]].		'''6:7:9''', a ''subminor triad'' or ''septimal minor triad'', is a triad in the [[7-limit]] sometimes used in place of a [[minor triad]]. It appears as a minor triad in the [[5L 2s\|diatonic scale]] of [[superpyth]], as [[64/63]] being tempered out means [[32/27]] is equated with [[7/6]]. This is in contrast to [[meantone]], where 32/27 is equated with [[6/5]], and thus the minor triad becomes [[10:12:15]].

	6:7:9 is the second-simplest [[otonal]] triad of the form Root-3rd-P5, past [[4:5:6]], and is thus very [[consonant]]. However, its inverse, [[14:18:21]], may sound less stable due to its higher otonal complexity. In addition, the [[7/6]] and [[9/7]] intervals differ by [[54/49]], an interval of 168 [[cent]]s, which means the subminor and supermajor triads don't contrast very well the same way 5-limit triads do. Nonetheless, these triads may be used in progressions together with the 5-limit ones.		6:7:9 is the second-simplest [[otonal]] triad of the form Root-3rd-P5, past [[4:5:6]], and is thus very [[consonant]]. However, its inverse, [[14:18:21]], may sound less stable due to its higher otonal complexity. In addition, the [[7/6]] and [[9/7]] intervals differ by [[54/49]], an interval of 168 [[cent]]s, which means the subminor and supermajor triads don't contrast very well the same way 5-limit triads do. Nonetheless, these triads may be used in progressions together with the 5-limit ones.

Overthink: a single todo box

2025-12-22T08:58:39Z

a single todo box

← Older revision		Revision as of 08:58, 22 December 2025
Line 9:		Line 9:
	* [[6:7:9:10]] - adds [[5/3]]		* [[6:7:9:10]] - adds [[5/3]]

	{{Todo\|expand\|improve readability}}		{{Todo\|expand\|improve readability\|research\|inline=1\|text=This chord may be closely connected to 7-limit interpretations of the Blues scale.}}
	~~{{Todo~~\|research\|inline=1\|text=This chord may be closely connected to 7-limit interpretations of the Blues scale.}}

	[[Category:Minor triads\|#]] <!-- 1-digit first number -->		[[Category:Minor triads\|#]] <!-- 1-digit first number -->

Overthink: todo

2025-12-22T08:48:45Z

todo

← Older revision		Revision as of 08:48, 22 December 2025
Line 9:		Line 9:
	* [[6:7:9:10]] - adds [[5/3]]		* [[6:7:9:10]] - adds [[5/3]]

	{{Todo\|expand}}		{{Todo\|expand\|improve readability}}
	{{Todo\|research\|inline=1\|text=This chord may be closely connected to 7-limit interpretations of the Blues scale.}}		{{Todo\|research\|inline=1\|text=This chord may be closely connected to 7-limit interpretations of the Blues scale.}}

	[[Category:Minor triads\|#]] <!-- 1-digit first number -->		[[Category:Minor triads\|#]] <!-- 1-digit first number -->

Overthink: expanded description

2025-12-22T08:38:42Z

expanded description

← Older revision		Revision as of 08:38, 22 December 2025
Line 1:		Line 1:
	{{Infobox Chord\|ColorName=zo or z}}		{{Infobox Chord\|ColorName=zo or z}}

	'''6:7:9''', a ''subminor triad'' or ''septimal minor triad'', is a triad in the [[7-limit]] sometimes used in place of a [[minor triad]].		'''6:7:9''', a ''subminor triad'' or ''septimal minor triad'', is a triad in the [[7-limit]] sometimes used in place of a [[minor triad]]. It appears as a minor triad in the [[5L 2s\|diatonic scale]] of [[superpyth]], as [[64/63]] being tempered out means [[32/27]] is equated with [[7/6]]. This is in contrast to [[meantone]], where 32/27 is equated with [[6/5]].

	{{~~stub~~}}		6:7:9 is the second-simplest [[otonal]] triad of the form Root-3rd-P5, past [[4:5:6]], and is thus very [[consonant]]. However, its inverse, [[14:18:21]], may sound less stable due to its higher otonal complexity. In addition, the [[7/6]] and [[9/7]] intervals differ by [[54/49]], an interval of 168 [[cent]]s, which means the subminor and supermajor triads don't contrast very well the same way 5-limit triads do. Nonetheless, these triads may be used in progressions together with the 5-limit ones.

			== See also ==
			* [[14:18:21]] - the supermajor triad
			* [[6:7:9:10]] - adds [[5/3]]

			{{Todo\|expand}}
	{{Todo\|research\|inline=1\|text=This chord may be closely connected to 7-limit interpretations of the Blues scale.}}		{{Todo\|research\|inline=1\|text=This chord may be closely connected to 7-limit interpretations of the Blues scale.}}

	[[Category:Minor triads\|#]] <!-- 1-digit first number -->		[[Category:Minor triads\|#]] <!-- 1-digit first number -->

Lériendil: very loaded value judgment

2025-05-03T05:11:42Z

very loaded value judgment

← Older revision		Revision as of 05:11, 3 May 2025
Line 1:		Line 1:
	{{Infobox Chord\|ColorName=zo or z}}		{{Infobox Chord\|ColorName=zo or z}}

	'''6:7:9''', a ''subminor triad'' or ''septimal minor triad'', is a triad in the [[7-limit]] sometimes used in place of a [[minor triad]]~~. This chord is more melancholic than your Pythagorean or pental minor triad~~.		'''6:7:9''', a ''subminor triad'' or ''septimal minor triad'', is a triad in the [[7-limit]] sometimes used in place of a [[minor triad]].

	{{stub}}		{{stub}}

MisterShafXen at 21:02, 2 May 2025

2025-05-02T21:02:33Z

← Older revision		Revision as of 21:02, 2 May 2025
Line 1:		Line 1:
	{{Infobox Chord\|ColorName=zo or z}}		{{Infobox Chord\|ColorName=zo or z}}

	'''6:7:9''', a ''subminor triad'' or ''septimal minor triad'', is a triad in the [[7-limit]] sometimes used in place of a [[minor triad]].		'''6:7:9''', a ''subminor triad'' or ''septimal minor triad'', is a triad in the [[7-limit]] sometimes used in place of a [[minor triad]]. This chord is more melancholic than your Pythagorean or pental minor triad.

	{{stub}}		{{stub}}