70:84:105:120: Difference between revisions

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{{Infobox Chord|70:84:105:120|ColorName=sub-6 or s6, gu ru-6 or g,r6}}

'''70:84:105:120''', the ''subharmonic sixth chord''<ref>[[Flora Canou]]. [[User:FloraC/Analysis on the 13-limit just intonation space: episode ii #Chapter II. Generic Rooted Chord Construction|"Chapter II. Generic Rooted Chord Construction", ''Analysis on the 13-limit Just Intonation Space: Episode II'']]. </ref>, is a [[tetrad]] in [[7-limit]] harmony. It is the inverse of [[4:5:6:7]], the harmonic seventh chord. It can be considered the minor version of 4:5:6:7, and serves as the fundamental [[utonal]] consonance of the [[7-odd-limit]]. On C, it can be notated as Cm(S6), where m is minor and S is supermajor.

'''70:84:105:120''', the ''subharmonic sixth chord''<ref>[[Flora Canou]]. [[User:FloraC/Analysis on the 13-limit just intonation space: episode ii #Chapter II. Generic Rooted Chord Construction|"Chapter II. Generic Rooted Chord Construction", ''Analysis on the 13-limit Just Intonation Space: Episode II'']]. </ref>, is a [[tetrad]] in [[7-limit]] harmony. It is the inverse of [[4:5:6:7]], the harmonic seventh chord. It can be considered the minor version of 4:5:6:7, and serves as the fundamental [[utonal]] consonance of the [[7-odd-limit]]. On C, it can be notated as Cm(S6), where m is 5-limit minor and S is supermajor.

The subharmonic sixth chord may be modified to obtain the harmonic seventh chord by raising the [[5/4]] by [[25/24]] and the [[7/4]] by [[49/48]]. The intervals [[25/24]] and [[49/48]] thus serve as chromas. It can also be modified by inflecting both [[6/5]] and [[12/7]] down by [[36/35]] to get the ''harmonic sixth chord'' [[6:7:9:10|1–7/6–3/2–5/3]].

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 {{Infobox Chord|70:84:105:120|ColorName=sub-6 or s6, gu ru-6 or g,r6}}
-'''70:84:105:120''', the ''subharmonic sixth chord''<ref>[[Flora Canou]]. [[User:FloraC/Analysis on the 13-limit just intonation space: episode ii #Chapter II. Generic Rooted Chord Construction|"Chapter II. Generic Rooted Chord Construction", ''Analysis on the 13-limit Just Intonation Space: Episode II'']]. </ref>, is a [[tetrad]] in [[7-limit]] harmony. It is the inverse of [[4:5:6:7]], the harmonic seventh chord. It can be considered the minor version of 4:5:6:7, and serves as the fundamental [[utonal]] consonance of the [[7-odd-limit]]. On C, it can be notated as Cm(S6), where m is minor and S is supermajor.
+'''70:84:105:120''', the ''subharmonic sixth chord''<ref>[[Flora Canou]]. [[User:FloraC/Analysis on the 13-limit just intonation space: episode ii #Chapter II. Generic Rooted Chord Construction|"Chapter II. Generic Rooted Chord Construction", ''Analysis on the 13-limit Just Intonation Space: Episode II'']]. </ref>, is a [[tetrad]] in [[7-limit]] harmony. It is the inverse of [[4:5:6:7]], the harmonic seventh chord. It can be considered the minor version of 4:5:6:7, and serves as the fundamental [[utonal]] consonance of the [[7-odd-limit]]. On C, it can be notated as Cm(S6), where m is 5-limit minor and S is supermajor.
 The subharmonic sixth chord may be modified to obtain the harmonic seventh chord by raising the [[5/4]] by [[25/24]] and the [[7/4]] by [[49/48]]. The intervals [[25/24]] and [[49/48]] thus serve as chromas. It can also be modified by inflecting both [[6/5]] and [[12/7]] down by [[36/35]] to get the ''harmonic sixth chord'' [[6:7:9:10|1–7/6–3/2–5/3]].
+{{chord edo approximation}}
 {{todo|inline=1|add sound example}}