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Fig.5 shows a comparison of four augmented chords that sound quite different. <br>
Fig.5 shows a comparison of four augmented chords that sound quite different. <br>
Listen to the following audio examples...
Listen to the following audio examples...
[[File:Fig-5 tonal space 753i aug.png|thumb|420px|right|<u>Fig.5</u>: Selection of different augmented chords]]  
[[File:Fig-5 tonal space 753i aug.png|thumb|430px|right|<u>Fig.5</u>: Selection of different augmented chords]]  
:{| class="wikitable"
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!Chord
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WORK IN PROGRESS Fig.6 shows a comparison of five diminished chords that sound quite different. <br>
Fig.6 shows a comparison of five different diminished chords. <br>
[[File:Fig-6_tonal_space_864i_dim_III.png|thumb|420px|right|<u>Fig.6</u>: Selection of 5 different diminished triads]]  
[[File:Fig-6_tonal_space_864i_dim_III.png|thumb|430px|right|<u>Fig.6</u>: Selection of 5 different diminished triads]]  
:{| class="wikitable"
:{| class="wikitable"
!Chord
!Chord
!Play
!Play
|-
|-
|mode16 aug (16:20:25)<br>2 stacked pure 3rds||[[File:TS_aug_L16_p25_C_P-I_Fig-5.mp3|80px]]
|mode16 dim (16:19:22)<br> ||[[File:TS_dim_L16-19-22_Eb_V03.mp3|80px]]
|-
|mode14 dim (14:17:20)<br> ||[[File:TS_dim_L14-17-20_Eb_V03.mp3|80px]]
|-
|mode11 dim (11:13:15)<br> ||[[File:TS_dim_L11-13-15_Eb_V03.mp3|80px]]
|-
|mode10 dim (10:12:14)<br> ||[[File:TS_dim_L10-12-14_Eb_V03.mp3|80px]]
|-
|mode9 dim (9:11:13)<br>  ||[[File:TS_dim_L9-11-13_Eb_V03.mp3|80px]]
|}
 
Fig.7 shows a selection of four different minor chords. <br>
[[File:Fig-7_tonal_space_1051i_min_02.png|thumb|430px|right|<u>Fig.7</u>: Selection of 4 different minor triads]]
:{| class="wikitable"
!Chord
!Play
|-
|mode26 min (26:30:39)<br> ||[[File:TS_min_L26_D_V01.mp3|80px]]
|-
|mode16 min (16:19:24)<br> ||[[File:TS_min_L16_D_V01.mp3|80px]]
|-
|mode12 min (12:14:18)<br> ||[[File:TS_min_L12_D_V01.mp3|80px]]
|-
|mode10 min (10:12:15)<br> ||[[File:TS_min_L10_D_V01.mp3|80px]]
|}
<br><br><br><br>
 
Fig.8 shows four varieties of what I call ''crossover (x-over) triads'', all of which are rooted at 0 cents. Crossover triads are neither diminished nor augmented. From a major perspective, x-over chords incorporate a flattened third and a raised fifth. <br>
[[File:Fig-8_tonal_space_867j_x-over_03.png|thumb|430px|right|<u>Fig.8</u>: Selection of 4 different ''crossover (x-over)'' triads.<br>
Unlike minor or major chords, crossover triads are neither diminished nor augmented and do not incorporate a pure fifth.]]
:{| class="wikitable"
!Chord
!Play
|-
|-
|mode14 aug (14:18:22)<br>sounds equal to (7:9:11)||[[File:TS_aug_L14_C_P-I_Fig-5.mp3|80px]]
|mode17 x-over (17:20:26)<br> ||[[File:TS_xover_L17-20-26_C++_V03.mp3|80px]]
|-
|-
|mode11 aug (11:14:17)<br>no, this is not major...||[[File:TS_aug_L11-14-17_C_P-I_Fig-5.mp3|80px]]
|mode14 x-over (14:17:22)<br> ||[[File:TS_xover_L14-17-22_C++_V03.mp3|80px]]
|-
|-
|mode10 aug (10:13:16)<br>extra wide 3rd||[[File:TS_aug_L10_C_P-I_Fig-5.mp3|80px]]
|mode11 x-over (11:13:17)<br> ||[[File:TS_xover_L11-13-17_C++_V03.mp3|80px]]
|-
|-
|style="background-color:#e2e2e2;" |mode8 maj (8:10:12)<br>'''pure major''' for reference||style="background-color:#e2e2e2;" |[[File:TS_maj_lin_8_C_P-I_Fig-5.mp3|80px]]
|mode9 x-over (9:11:14)<br> ||[[File:TS_xover_L9-11-14_C++_V03.mp3|80px]]
|}
|}
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