Talk:Augmented family: Difference between revisions

Line 10:

The augmented triad doesn't involve 128/125 at all: it stacks only two major thirds, which together reach an augmented fifth. Augmented temperament equates an “augmented seventh” with the octave, but note that an “augmented seventh chord” has a different established meaning (a chord with an augmented fifth and minor seventh). [[User:Bcmills|Bcmills]] ([[User talk:Bcmills|talk]]) 12:39, 21 August 2024 (UTC)

: I'm afraid you ignored some of the structures of these chords. Due to octave equivalence the octave should be assumed and the augmented fifth to the octave is another identical interval as the other thirds in 12edo. This is the reason why ppl say the augmented triad rotates to itself and doesn't really have a root. The "augmented seventh chord" is ofc a different thing but since it's one note added to the augmented triad, it implies at least the same contraints as the augmented triad.

: I understand the traditional theory where equal tunings of all three thirds aren't required, and I think it's an authentic take for meantone-based music in the Renaissance to Classical period. I've edited the augmented triad page to mention that. The 1/3-octave interpretation has greater explanatory power as we see the use of chromaticism, augmented and diminished chords etc. only exploded in the Romantic era where equal temp was getting predominant. [[User:FloraC|FloraC]] ([[User talk:FloraC|talk]]) 13:11, 21 August 2024 (UTC)

@@ Line 10: / Line 10: @@
 The augmented triad doesn't involve 128/125 at all: it stacks only two major thirds, which together reach an augmented fifth. Augmented temperament equates an “augmented seventh” with the octave, but note that an “augmented seventh chord” has a different established meaning (a chord with an augmented fifth and minor seventh).  [[User:Bcmills|Bcmills]] ([[User talk:Bcmills|talk]]) 12:39, 21 August 2024 (UTC)
+: I'm afraid you ignored some of the structures of these chords. Due to octave equivalence the octave should be assumed and the augmented fifth to the octave is another identical interval as the other thirds in 12edo. This is the reason why ppl say the augmented triad rotates to itself and doesn't really have a root. The "augmented seventh chord" is ofc a different thing but since it's one note added to the augmented triad, it implies at least the same contraints as the augmented triad.
+: I understand the traditional theory where equal tunings of all three thirds aren't required, and I think it's an authentic take for meantone-based music in the Renaissance to Classical period. I've edited the augmented triad page to mention that. The 1/3-octave interpretation has greater explanatory power as we see the use of chromaticism, augmented and diminished chords etc. only exploded in the Romantic era where equal temp was getting predominant. [[User:FloraC|FloraC]] ([[User talk:FloraC|talk]]) 13:11, 21 August 2024 (UTC)