User:Unque/Barbershop Tuning Theory: Difference between revisions

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Additionally, the chord can theoretically be rooted as an inversion of a root-second-fourth-sixth tetrad, which could yield a subset of the [[8afdo|Acoustic Scale]]. While not technically invalid, however, this approach is purely theoretical, and is not used or even attested anywhere.

Finally, it should be noted that the ii<sup>ø7</sup> chord is used as a dominant due to being the negative harmony variant of V<sup>7</sup>. Because of this, some performers prefer to treat this chord as an undertonal variant of the standard Barbershop Seventh.

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== Add-Nine Chords ==

The Major Add9 tetrad (and by extension, the sus2 triad) is officially considered as part of the Barbershop vocabulary, but is not treated as fundamental on the same level as the previous two chords. This chord is ~~perhaps~~ the ~~single least variable~~, with the ninth being ~~unambiguously~~ a 9/4 above the tonic.

The Major Add9 tetrad (and by extension, the sus2 triad) is officially considered as part of the Barbershop vocabulary, but is not treated as fundamental on the same level as the previous two chords. This chord is much less variable than some of the other chords, with the ninth being almost unanimously considered a 9/4 above the tonic.

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|Purely theoretical. Seemingly unattested, despite ringing very well.

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'''See also:''' [[128/125|Augmented]], [[361/360|Dudon]], and [[225/224|Magic]], temperaments ~~that respectively analyze 3~~-~~EDO as these three chord tunings~~.

'''See also:''' [[128/125|Augmented]], [[361/360|Dudon]], and [[225/224|Magic]], temperaments whose characteristic essentially-tempered chords approximate the ones shown here.

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 Additionally, the chord can theoretically be rooted as an inversion of a root-second-fourth-sixth tetrad, which could yield a subset of the [[8afdo|Acoustic Scale]].  While not technically invalid, however, this approach is purely theoretical, and is not used or even attested anywhere.
+Finally, it should be noted that the ii<sup>ø7</sup> chord is used as a dominant due to being the negative harmony variant of V<sup>7</sup>.  Because of this, some performers prefer to treat this chord as an undertonal variant of the standard Barbershop Seventh.
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 |+Half-Diminished Tunings
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 == Add-Nine Chords ==
-The Major Add9 tetrad (and by extension, the sus2 triad) is officially considered as part of the Barbershop vocabulary, but is not treated as fundamental on the same level as the previous two chords.  This chord is perhaps the single least variable, with the ninth being unambiguously a 9/4 above the tonic.
+The Major Add9 tetrad (and by extension, the sus2 triad) is officially considered as part of the Barbershop vocabulary, but is not treated as fundamental on the same level as the previous two chords.  This chord is much less variable than some of the other chords, with the ninth being almost unanimously considered a 9/4 above the tonic.
 {| class="wikitable"
 |+Major Ninth Tunings
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 |Purely theoretical.  Seemingly unattested, despite ringing very well.
 |}
-'''See also:''' [[128/125|Augmented]], [[361/360|Dudon]], and [[225/224|Magic]], temperaments that respectively analyze 3-EDO as these three chord tunings.
+'''See also:''' [[128/125|Augmented]], [[361/360|Dudon]], and [[225/224|Magic]], temperaments whose characteristic essentially-tempered chords approximate the ones shown here.