4:5:6:7: Difference between revisions
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Despite being harmonically simple, this chord may sound unresolved because it is so similar to the dominant seventh chord. However, this means it can be used as one, with a 4:5:6:7 chord on the dominant being [[3/2]]–[[15/8]]–[[9/4]]–[[21/8]] above the tonic, which is octave-equivalent to [[16/15|15/16]]–[[9/8]]–[[21/16]]–[[3/2]]. The 15/16 can step up by 16/15 to reach [[1/1]], and the 21/16 down by [[21/20]] to reach 5/4, resolving to the [[4:5:6]] chord on the tonic. | Despite being harmonically simple, this chord may sound unresolved because it is so similar to the dominant seventh chord. However, this means it can be used as one, with a 4:5:6:7 chord on the dominant being [[3/2]]–[[15/8]]–[[9/4]]–[[21/8]] above the tonic, which is octave-equivalent to [[16/15|15/16]]–[[9/8]]–[[21/16]]–[[3/2]]. The 15/16 can step up by 16/15 to reach [[1/1]], and the 21/16 down by [[21/20]] to reach 5/4, resolving to the [[4:5:6]] chord on the tonic. | ||
{{chord edo approximation}} | |||
== Audio of close voicings == | == Audio of close voicings == | ||