14:21:24: Difference between revisions

(2 intermediate revisions by 2 users not shown)

Line 1:

'''14:21:24''' is a [[7-limit]] [[chord]] found as a subset of the subharmonic sixth chord, [[70:84:105:120]], or of the septimal major sixth chord, [[14:18:21:24]]. Due to having no fives, it is the first utonal chord that deviates from traditional harmony. As such, it is a candidate for [[metallic harmony]], a form of [[extraclassical tonality]] that employs 7 instead of 5 as its other prime.

Its first rotation, '''21:24:28''', is significant because it consists of the intervals [[8/7]] and [[7/6]] stacked on top of each other. The intervals in this chord divide the [[4/3|perfect fourth]] rather than the [[3/2|perfect fifth]], and contrast by [[49/48]], similarly to how [[5/4]] and [[6/5]] contrast by [[25/24]] in [[4:5:6]]. By swapping the order of 8/7 and 7/6, we get the otonal inverse of 21:24:28, that being [[6:7:8]].

Its first rotation, '''21:24:28''', is significant because it consists of the intervals [[8/7]] and [[7/6]] stacked on top of each other. The intervals in this chord divide the [[4/3|perfect fourth]] rather than the [[3/2|perfect fifth]], and contrast by [[49/48]], similarly to how [[6/5]] and [[5/4]] contrast by [[25/24]] in [[10:12:15]]. By swapping the order of 8/7 and 7/6, we get the otonal inverse of 21:24:28, that being [[6:7:8]].

Another notable setting is the open voicing 7:12:21, which shares the property with 6:7:8 that its intervals, [[12/7]] and [[7/4]], contrast by 49/48, but they divide the [[3/1|perfect twelfth]] instead~~. This also has the advantage of avoiding the unresolvedness of a dominant seventh chord that occurs in the 6:7:8 and 4:6:7 voicings~~. Its otonal version is 4:7:12, an open voicing of [[4:6:7]].

Another notable setting is the open voicing 7:12:21, which shares the property with 21:24:28 that its intervals, [[12/7]] and [[7/4]], contrast by 49/48, but they divide the [[3/1|perfect twelfth]] instead. Its otonal version is 4:7:12, an open voicing of [[4:6:7]].

Its second rotation, '''12:14:21''', is also significant because it functions as the fifthless version of the septimal minor seventh chord, [[12:14:18:21]].

@@ Line 1: / Line 1: @@
-{{Infobox Chord}}
+{{Infobox Chord|ColorName=ru-6 no-3 or r6no3}}
 '''14:21:24''' is a [[7-limit]] [[chord]] found as a subset of the subharmonic sixth chord, [[70:84:105:120]], or of the septimal major sixth chord, [[14:18:21:24]]. Due to having no fives, it is the first utonal chord that deviates from traditional harmony. As such, it is a candidate for [[metallic harmony]], a form of [[extraclassical tonality]] that employs 7 instead of 5 as its other prime.
-Its first rotation, '''21:24:28''', is significant because it consists of the intervals [[8/7]] and [[7/6]] stacked on top of each other. The intervals in this chord divide the [[4/3|perfect fourth]] rather than the [[3/2|perfect fifth]], and contrast by [[49/48]], similarly to how [[5/4]] and [[6/5]] contrast by [[25/24]] in [[4:5:6]]. By swapping the order of 8/7 and 7/6, we get the otonal inverse of 21:24:28, that being [[6:7:8]].
+Its first rotation, '''21:24:28''', is significant because it consists of the intervals [[8/7]] and [[7/6]] stacked on top of each other. The intervals in this chord divide the [[4/3|perfect fourth]] rather than the [[3/2|perfect fifth]], and contrast by [[49/48]], similarly to how [[6/5]] and [[5/4]] contrast by [[25/24]] in [[10:12:15]]. By swapping the order of 8/7 and 7/6, we get the otonal inverse of 21:24:28, that being [[6:7:8]].
-Another notable setting is the open voicing 7:12:21, which shares the property with 6:7:8 that its intervals, [[12/7]] and [[7/4]], contrast by 49/48, but they divide the [[3/1|perfect twelfth]] instead. This also has the advantage of avoiding the unresolvedness of a dominant seventh chord that occurs in the 6:7:8 and 4:6:7 voicings. Its otonal version is 4:7:12, an open voicing of [[4:6:7]].
+Another notable setting is the open voicing 7:12:21, which shares the property with 21:24:28 that its intervals, [[12/7]] and [[7/4]], contrast by 49/48, but they divide the [[3/1|perfect twelfth]] instead. Its otonal version is 4:7:12, an open voicing of [[4:6:7]].
 Its second rotation, '''12:14:21''', is also significant because it functions as the fifthless version of the septimal minor seventh chord, [[12:14:18:21]].
+{{chord edo approximation}}