Diminished seventh chord: Difference between revisions
mNo edit summary Tags: Visual edit Mobile edit Mobile web edit |
|||
| (One intermediate revision by one other user not shown) | |||
| Line 24: | Line 24: | ||
Since [[12edo]] is a good tuning of dimipent and supports both diminished temperament and septimal meantone, and the historically prevalent [[quarter-comma meantone]] is a good tuning of septimal meantone (although it was historically usually analyzed as a 5-limit temperament), any of the above interpretations may be relevant for diminished chords found in common-practice and contemporary music. | Since [[12edo]] is a good tuning of dimipent and supports both diminished temperament and septimal meantone, and the historically prevalent [[quarter-comma meantone]] is a good tuning of septimal meantone (although it was historically usually analyzed as a 5-limit temperament), any of the above interpretations may be relevant for diminished chords found in common-practice and contemporary music. | ||
== In equal temperaments == | |||
4edo (and multiples thereof): 0-300-600-900 cents | |||
13edo: 0-277-554-923 cents, 1/1-7/6-11/8-12/7 | |||
15edo: 0-320-640-880 cents, 1/1-6/5-16/11-5/3 | |||
17edo: 0-282-565-918 cents, 1/1-33/28-11/8-56/33 | |||
== In just intonation == | == In just intonation == | ||
| Line 31: | Line 40: | ||
* [[35:42:50:60]] is a preimage of the essentially-tempered chord of starling temperament, also found in genus 3{{dot}}5<sup>2</sup>{{dot}}7. | * [[35:42:50:60]] is a preimage of the essentially-tempered chord of starling temperament, also found in genus 3{{dot}}5<sup>2</sup>{{dot}}7. | ||
* [[25:30:35:42]] is the result of using step pattern 6/5, 7/6, 6/5. | * [[25:30:35:42]] is the result of using step pattern 6/5, 7/6, 6/5. | ||
* [[30:35:42: | * [[30:35:42:49]] is the result of using step pattern 7/6, 6/5, 7/6. | ||
In the [[5-limit]]: | In the [[5-limit]]: | ||