70:84:105:120 - Revision history

Pailiaq at 04:38, 26 May 2026

2026-05-26T04:38:01Z

← Older revision		Revision as of 04:38, 26 May 2026
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	The subharmonic sixth chord may be modified to obtain the harmonic seventh chord by raising the [[5/4]] by [[25/24]] and the [[7/4]] by [[49/48]]. The intervals [[25/24]] and [[49/48]] thus serve as chromas. It can also be modified by inflecting both [[6/5]] and [[12/7]] down by [[36/35]] to get the ''harmonic sixth chord'' [[6:7:9:10\|1–7/6–3/2–5/3]].		The subharmonic sixth chord may be modified to obtain the harmonic seventh chord by raising the [[5/4]] by [[25/24]] and the [[7/4]] by [[49/48]]. The intervals [[25/24]] and [[49/48]] thus serve as chromas. It can also be modified by inflecting both [[6/5]] and [[12/7]] down by [[36/35]] to get the ''harmonic sixth chord'' [[6:7:9:10\|1–7/6–3/2–5/3]].

			{{chord edo approximation}}

	{{todo\|inline=1\|add sound example}}		{{todo\|inline=1\|add sound example}}

VectorGraphics at 19:55, 4 May 2026

2026-05-04T19:55:20Z

← Older revision		Revision as of 19:55, 4 May 2026
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	{{Infobox Chord\|70:84:105:120\|ColorName=sub-6 or s6, gu ru-6 or g,r6}}		{{Infobox Chord\|70:84:105:120\|ColorName=sub-6 or s6, gu ru-6 or g,r6}}
	'''70:84:105:120''', the ''subharmonic sixth chord''<ref>[[Flora Canou]]. [[User:FloraC/Analysis on the 13-limit just intonation space: episode ii #Chapter II. Generic Rooted Chord Construction\|"Chapter II. Generic Rooted Chord Construction", ''Analysis on the 13-limit Just Intonation Space: Episode II'']]. </ref>, is a [[tetrad]] in [[7-limit]] harmony. It is the inverse of [[4:5:6:7]], the harmonic seventh chord. It can be considered the minor version of 4:5:6:7, and serves as the fundamental [[utonal]] consonance of the [[7-odd-limit]]. On C, it can be notated as Cm(S6), where m is minor and S is supermajor.		'''70:84:105:120''', the ''subharmonic sixth chord''<ref>[[Flora Canou]]. [[User:FloraC/Analysis on the 13-limit just intonation space: episode ii #Chapter II. Generic Rooted Chord Construction\|"Chapter II. Generic Rooted Chord Construction", ''Analysis on the 13-limit Just Intonation Space: Episode II'']]. </ref>, is a [[tetrad]] in [[7-limit]] harmony. It is the inverse of [[4:5:6:7]], the harmonic seventh chord. It can be considered the minor version of 4:5:6:7, and serves as the fundamental [[utonal]] consonance of the [[7-odd-limit]]. On C, it can be notated as Cm(S6), where m is 5-limit minor and S is supermajor.

	The subharmonic sixth chord may be modified to obtain the harmonic seventh chord by raising the [[5/4]] by [[25/24]] and the [[7/4]] by [[49/48]]. The intervals [[25/24]] and [[49/48]] thus serve as chromas. It can also be modified by inflecting both [[6/5]] and [[12/7]] down by [[36/35]] to get the ''harmonic sixth chord'' [[6:7:9:10\|1–7/6–3/2–5/3]].		The subharmonic sixth chord may be modified to obtain the harmonic seventh chord by raising the [[5/4]] by [[25/24]] and the [[7/4]] by [[49/48]]. The intervals [[25/24]] and [[49/48]] thus serve as chromas. It can also be modified by inflecting both [[6/5]] and [[12/7]] down by [[36/35]] to get the ''harmonic sixth chord'' [[6:7:9:10\|1–7/6–3/2–5/3]].

TallKite at 00:13, 11 March 2026

2026-03-11T00:13:03Z

← Older revision		Revision as of 00:13, 11 March 2026
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	{{Infobox Chord\|70:84:105:120\|ColorName=gu ru-6 or g,r6~~, sub-6 or s6~~}}		{{Infobox Chord\|70:84:105:120\|ColorName=sub-6 or s6, gu ru-6 or g,r6}}
	'''70:84:105:120''', the ''subharmonic sixth chord''<ref>[[Flora Canou]]. [[User:FloraC/Analysis on the 13-limit just intonation space: episode ii #Chapter II. Generic Rooted Chord Construction\|"Chapter II. Generic Rooted Chord Construction", ''Analysis on the 13-limit Just Intonation Space: Episode II'']]. </ref>, is a [[tetrad]] in [[7-limit]] harmony. It is the inverse of [[4:5:6:7]], the harmonic seventh chord. It can be considered the minor version of 4:5:6:7, and serves as the fundamental [[utonal]] consonance of the [[7-odd-limit]]. On C, it can be notated as Cm(S6), where m is minor and S is supermajor.		'''70:84:105:120''', the ''subharmonic sixth chord''<ref>[[Flora Canou]]. [[User:FloraC/Analysis on the 13-limit just intonation space: episode ii #Chapter II. Generic Rooted Chord Construction\|"Chapter II. Generic Rooted Chord Construction", ''Analysis on the 13-limit Just Intonation Space: Episode II'']]. </ref>, is a [[tetrad]] in [[7-limit]] harmony. It is the inverse of [[4:5:6:7]], the harmonic seventh chord. It can be considered the minor version of 4:5:6:7, and serves as the fundamental [[utonal]] consonance of the [[7-odd-limit]]. On C, it can be notated as Cm(S6), where m is minor and S is supermajor.

FloraC: Address the harmonic sixth chord, mirroring 4:5:6:7 article

2025-12-18T12:03:39Z

Address the harmonic sixth chord, mirroring 4:5:6:7 article

← Older revision		Revision as of 12:03, 18 December 2025
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	'''70:84:105:120''', the ''subharmonic sixth chord''<ref>[[Flora Canou]]. [[User:FloraC/Analysis on the 13-limit just intonation space: episode ii #Chapter II. Generic Rooted Chord Construction\|"Chapter II. Generic Rooted Chord Construction", ''Analysis on the 13-limit Just Intonation Space: Episode II'']]. </ref>, is a [[tetrad]] in [[7-limit]] harmony. It is the inverse of [[4:5:6:7]], the harmonic seventh chord. It can be considered the minor version of 4:5:6:7, and serves as the fundamental [[utonal]] consonance of the [[7-odd-limit]]. On C, it can be notated as Cm(S6), where m is minor and S is supermajor.		'''70:84:105:120''', the ''subharmonic sixth chord''<ref>[[Flora Canou]]. [[User:FloraC/Analysis on the 13-limit just intonation space: episode ii #Chapter II. Generic Rooted Chord Construction\|"Chapter II. Generic Rooted Chord Construction", ''Analysis on the 13-limit Just Intonation Space: Episode II'']]. </ref>, is a [[tetrad]] in [[7-limit]] harmony. It is the inverse of [[4:5:6:7]], the harmonic seventh chord. It can be considered the minor version of 4:5:6:7, and serves as the fundamental [[utonal]] consonance of the [[7-odd-limit]]. On C, it can be notated as Cm(S6), where m is minor and S is supermajor.

	The ~~4:5:6:7~~ chord may be modified to obtain ~~this~~ chord by ~~flattening~~ the [[5/4]] by [[25/24]] and the [[7/4]] by [[49/48]]. The intervals [[25/24]] and [[49/48]] thus serve as chromas, and ~~they are equated when~~ [[50/49]] ~~is tempered out, such as in~~ [[~~pajara~~]].		The subharmonic sixth chord may be modified to obtain the harmonic seventh chord by raising the [[5/4]] by [[25/24]] and the [[7/4]] by [[49/48]]. The intervals [[25/24]] and [[49/48]] thus serve as chromas. It can also be modified by inflecting both [[6/5]] and [[12/7]] down by [[36/35]] to get the ''harmonic sixth chord'' [[6:7:9:10\|1–7/6–3/2–5/3]].

	{{todo\|inline=1\|add sound example}}		{{todo\|inline=1\|add sound example}}

Overthink: moved link to 4:5:6:7 earlier

2025-11-13T05:52:54Z

moved link to 4:5:6:7 earlier

← Older revision		Revision as of 05:52, 13 November 2025
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	{{Infobox Chord\|70:84:105:120\|ColorName=gu ru-6 or g,r6, sub-6 or s6}}		{{Infobox Chord\|70:84:105:120\|ColorName=gu ru-6 or g,r6, sub-6 or s6}}
	'''70:84:105:120''', the ''subharmonic sixth chord''<ref>[[Flora Canou]]. [[User:FloraC/Analysis on the 13-limit just intonation space: episode ii #Chapter II. Generic Rooted Chord Construction\|"Chapter II. Generic Rooted Chord Construction", ''Analysis on the 13-limit Just Intonation Space: Episode II'']]. </ref>, is a [[tetrad]] in [[7-limit]] harmony. It is the inverse of 4:5:6:7, the [[harmonic seventh chord]]. It can be considered the minor version of 4:5:6:7, and serves as the fundamental [[utonal]] consonance of the [[7-odd-limit]]. On C, it can be notated as Cm(S6), where m is minor and S is supermajor.		'''70:84:105:120''', the ''subharmonic sixth chord''<ref>[[Flora Canou]]. [[User:FloraC/Analysis on the 13-limit just intonation space: episode ii #Chapter II. Generic Rooted Chord Construction\|"Chapter II. Generic Rooted Chord Construction", ''Analysis on the 13-limit Just Intonation Space: Episode II'']]. </ref>, is a [[tetrad]] in [[7-limit]] harmony. It is the inverse of [[4:5:6:7]], the harmonic seventh chord. It can be considered the minor version of 4:5:6:7, and serves as the fundamental [[utonal]] consonance of the [[7-odd-limit]]. On C, it can be notated as Cm(S6), where m is minor and S is supermajor.

	The 4:5:6:7 chord may be modified to obtain this chord by flattening the [[5/4]] by [[25/24]] and the [[7/4]] by [[49/48]]. The intervals [[25/24]] and [[49/48]] thus serve as chromas, and they are equated when [[50/49]] is tempered out, such as in [[pajara]].		The 4:5:6:7 chord may be modified to obtain this chord by flattening the [[5/4]] by [[25/24]] and the [[7/4]] by [[49/48]]. The intervals [[25/24]] and [[49/48]] thus serve as chromas, and they are equated when [[50/49]] is tempered out, such as in [[pajara]].

Overthink: removed note on breedsmic tempering

2025-11-13T05:50:46Z

removed note on breedsmic tempering

← Older revision		Revision as of 05:50, 13 November 2025
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	'''70:84:105:120''', the ''subharmonic sixth chord''<ref>[[Flora Canou]]. [[User:FloraC/Analysis on the 13-limit just intonation space: episode ii #Chapter II. Generic Rooted Chord Construction\|"Chapter II. Generic Rooted Chord Construction", ''Analysis on the 13-limit Just Intonation Space: Episode II'']]. </ref>, is a [[tetrad]] in [[7-limit]] harmony. It is the inverse of 4:5:6:7, the [[harmonic seventh chord]]. It can be considered the minor version of 4:5:6:7, and serves as the fundamental [[utonal]] consonance of the [[7-odd-limit]]. On C, it can be notated as Cm(S6), where m is minor and S is supermajor.		'''70:84:105:120''', the ''subharmonic sixth chord''<ref>[[Flora Canou]]. [[User:FloraC/Analysis on the 13-limit just intonation space: episode ii #Chapter II. Generic Rooted Chord Construction\|"Chapter II. Generic Rooted Chord Construction", ''Analysis on the 13-limit Just Intonation Space: Episode II'']]. </ref>, is a [[tetrad]] in [[7-limit]] harmony. It is the inverse of 4:5:6:7, the [[harmonic seventh chord]]. It can be considered the minor version of 4:5:6:7, and serves as the fundamental [[utonal]] consonance of the [[7-odd-limit]]. On C, it can be notated as Cm(S6), where m is minor and S is supermajor.

	The 4:5:6:7 chord may be modified to obtain this chord by flattening the [[5/4]] by [[25/24]] and the [[7/4]] by [[49/48]]. The intervals [[25/24]] and [[49/48]] thus serve as chromas, and they are equated when [[50/49]] is tempered out, such as in [[pajara]]~~. Alternatively two 49/48's can be equated to 25/24 by tempering out [[2401/2400]], which is far more accurate, and is done in [[miracle]] among other things~~.		The 4:5:6:7 chord may be modified to obtain this chord by flattening the [[5/4]] by [[25/24]] and the [[7/4]] by [[49/48]]. The intervals [[25/24]] and [[49/48]] thus serve as chromas, and they are equated when [[50/49]] is tempered out, such as in [[pajara]].

	{{todo\|inline=1\|add sound example}}		{{todo\|inline=1\|add sound example}}

Overthink: Added more description and moved see also section to bottom

2025-11-10T17:48:13Z

Added more description and moved see also section to bottom

← Older revision		Revision as of 17:48, 10 November 2025
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	{{Infobox Chord\|70:84:105:120\|ColorName=gu ru-6 or g,r6, sub-6 or s6}}		{{Infobox Chord\|70:84:105:120\|ColorName=gu ru-6 or g,r6, sub-6 or s6}}
	'''70:84:105:120''', the ''subharmonic sixth chord''<ref>[[Flora Canou]]. [[User:FloraC/Analysis on the 13-limit just intonation space: episode ii #Chapter II. Generic Rooted Chord Construction\|"Chapter II. Generic Rooted Chord Construction", ''Analysis on the 13-limit Just Intonation Space: Episode II'']]. </ref>, is a [[tetrad]] in [[7-limit]] harmony. It is the inverse of 4:5:6:7, the [[harmonic seventh chord]]. ~~See also its~~ [[~~Chord homonym\|homonym~~]] [[~~60:70:84:105~~]] (~~a ''~~minor ~~7th flat-5th~~ chord~~'' or ''half-diminished~~ chord'').		'''70:84:105:120''', the ''subharmonic sixth chord''<ref>[[Flora Canou]]. [[User:FloraC/Analysis on the 13-limit just intonation space: episode ii #Chapter II. Generic Rooted Chord Construction\|"Chapter II. Generic Rooted Chord Construction", ''Analysis on the 13-limit Just Intonation Space: Episode II'']]. </ref>, is a [[tetrad]] in [[7-limit]] harmony. It is the inverse of 4:5:6:7, the [[harmonic seventh chord]]. It can be considered the minor version of 4:5:6:7, and serves as the fundamental [[utonal]] consonance of the [[7-odd-limit]]. On C, it can be notated as Cm(S6), where m is minor and S is supermajor.

			The 4:5:6:7 chord may be modified to obtain this chord by flattening the [[5/4]] by [[25/24]] and the [[7/4]] by [[49/48]]. The intervals [[25/24]] and [[49/48]] thus serve as chromas, and they are equated when [[50/49]] is tempered out, such as in [[pajara]]. Alternatively two 49/48's can be equated to 25/24 by tempering out [[2401/2400]], which is far more accurate, and is done in [[miracle]] among other things.

			{{todo\|inline=1\|add sound example}}

	== References ==		== References ==
	<references/>		<references/>

			== See also ==
	~~{{Stub}}~~		* Its [[Chord homonym\|homonym]] [[60:70:84:105]] (a ''minor 7th flat-5th chord'' or ''half-diminished chord'').

FloraC: Add reference to my essay since I got there first, tho subharmonic does make more sense than harmonic

2025-11-09T11:13:03Z

Add reference to my essay since I got there first, tho *subharmonic* does make more sense than *harmonic*

← Older revision		Revision as of 11:13, 9 November 2025
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	{{Infobox Chord\|70:84:105:120\|ColorName=gu ru-6 or g,r6, sub-6 or s6}}		{{Infobox Chord\|70:84:105:120\|ColorName=gu ru-6 or g,r6, sub-6 or s6}}
	'''70:84:105:120''', the ''subharmonic sixth chord'', is a [[tetrad]] in [[7-limit]] harmony. It is the inverse of 4:5:6:7, the [[harmonic seventh chord]]. See also its [[Chord homonym\|homonym]] [[60:70:84:105]] (a ''minor 7th flat-5th chord'' or ''half-diminished chord'').		'''70:84:105:120''', the ''subharmonic sixth chord''<ref>[[Flora Canou]]. [[User:FloraC/Analysis on the 13-limit just intonation space: episode ii #Chapter II. Generic Rooted Chord Construction\|"Chapter II. Generic Rooted Chord Construction", ''Analysis on the 13-limit Just Intonation Space: Episode II'']]. </ref>, is a [[tetrad]] in [[7-limit]] harmony. It is the inverse of 4:5:6:7, the [[harmonic seventh chord]]. See also its [[Chord homonym\|homonym]] [[60:70:84:105]] (a ''minor 7th flat-5th chord'' or ''half-diminished chord'').

			== References ==
			<references/>


	{{Stub}}		{{Stub}}

FloraC: "Minor sixth chord" is confusing

2025-11-09T08:53:20Z

"Minor sixth chord" is confusing

← Older revision		Revision as of 08:53, 9 November 2025
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	{{Infobox Chord\|70:84:105:120\|ColorName=gu ru-6 or g,r6, sub-6 or s6}}		{{Infobox Chord\|70:84:105:120\|ColorName=gu ru-6 or g,r6, sub-6 or s6}}
	'''70:84:105:120''', the ''subharmonic ~~minor~~ sixth chord'', is a [[tetrad]] in [[7-limit]] harmony. It is the inverse of 4:5:6:7, the [[harmonic seventh chord]]. See also its [[Chord homonym\|homonym]] [[60:70:84:105]] (a ''minor 7th flat-5th chord'' or ''half-diminished chord'').		'''70:84:105:120''', the ''subharmonic sixth chord'', is a [[tetrad]] in [[7-limit]] harmony. It is the inverse of 4:5:6:7, the [[harmonic seventh chord]]. See also its [[Chord homonym\|homonym]] [[60:70:84:105]] (a ''minor 7th flat-5th chord'' or ''half-diminished chord'').


	{{Stub}}		{{Stub}}

TallKite at 05:52, 9 November 2025

2025-11-09T05:52:37Z

← Older revision		Revision as of 05:52, 9 November 2025
Line 1:		Line 1:
	{{Infobox Chord\|70:84:105:120\|ColorName=gu ru-6 or g,r6, sub-6 or s6}}		{{Infobox Chord\|70:84:105:120\|ColorName=gu ru-6 or g,r6, sub-6 or s6}}
	'''70:84:105:120''', the ''~~harmonic~~ sixth chord'', is a [[tetrad]] in [[7-limit]] harmony. It is the inverse of 4:5:6:7, the [[harmonic seventh chord]]. See also its [[Chord homonym\|homonym]] [[60:70:84:105]] (a ''minor 7th flat-5th chord'' or ''half-diminished chord'').		'''70:84:105:120''', the ''subharmonic minor sixth chord'', is a [[tetrad]] in [[7-limit]] harmony. It is the inverse of 4:5:6:7, the [[harmonic seventh chord]]. See also its [[Chord homonym\|homonym]] [[60:70:84:105]] (a ''minor 7th flat-5th chord'' or ''half-diminished chord'').
	{{Stub}}		{{Stub}}

← Older revision		Revision as of 19:55, 4 May 2026
Line 1:		Line 1:
	{{Infobox Chord\|70:84:105:120\|ColorName=sub-6 or s6, gu ru-6 or g,r6}}		{{Infobox Chord\|70:84:105:120\|ColorName=sub-6 or s6, gu ru-6 or g,r6}}
	'''70:84:105:120''', the ''subharmonic sixth chord''<ref>[[Flora Canou]]. [[User:FloraC/Analysis on the 13-limit just intonation space: episode ii #Chapter II. Generic Rooted Chord Construction\|"Chapter II. Generic Rooted Chord Construction", ''Analysis on the 13-limit Just Intonation Space: Episode II'']]. </ref>, is a [[tetrad]] in [[7-limit]] harmony. It is the inverse of [[4:5:6:7]], the harmonic seventh chord. It can be considered the minor version of 4:5:6:7, and serves as the fundamental [[utonal]] consonance of the [[7-odd-limit]]. On C, it can be notated as Cm(S6), where m is minor and S is supermajor.		'''70:84:105:120''', the ''subharmonic sixth chord''<ref>[[Flora Canou]]. [[User:FloraC/Analysis on the 13-limit just intonation space: episode ii #Chapter II. Generic Rooted Chord Construction\|"Chapter II. Generic Rooted Chord Construction", ''Analysis on the 13-limit Just Intonation Space: Episode II'']]. </ref>, is a [[tetrad]] in [[7-limit]] harmony. It is the inverse of [[4:5:6:7]], the harmonic seventh chord. It can be considered the minor version of 4:5:6:7, and serves as the fundamental [[utonal]] consonance of the [[7-odd-limit]]. On C, it can be notated as Cm(S6), where m is 5-limit minor and S is supermajor.

	The subharmonic sixth chord may be modified to obtain the harmonic seventh chord by raising the [[5/4]] by [[25/24]] and the [[7/4]] by [[49/48]]. The intervals [[25/24]] and [[49/48]] thus serve as chromas. It can also be modified by inflecting both [[6/5]] and [[12/7]] down by [[36/35]] to get the ''harmonic sixth chord'' [[6:7:9:10\|1–7/6–3/2–5/3]].		The subharmonic sixth chord may be modified to obtain the harmonic seventh chord by raising the [[5/4]] by [[25/24]] and the [[7/4]] by [[49/48]]. The intervals [[25/24]] and [[49/48]] thus serve as chromas. It can also be modified by inflecting both [[6/5]] and [[12/7]] down by [[36/35]] to get the ''harmonic sixth chord'' [[6:7:9:10\|1–7/6–3/2–5/3]].