Dominant seventh chord: Difference between revisions

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A '''dominant seventh chord''' is a [[tetrad]] comprising a root, a [[major]] third, a fifth, and a [[minor]] seventh. The name of the chord derives from the dominant ~~scale degree~~[https://en.wikipedia.org/wiki/Dominant_(music)], which is the only degree of a [[diatonic scale]] on which ~~a chord with this structure~~ is found. However, in many musical genres, “dominant seventh chord” informally refers to any chord with this general structure, regardless of where it appears in the overall scale.

A '''dominant seventh chord''' is a [[tetrad]] comprising a root, a [[major]] third, a fifth, and a [[minor]] seventh. The name of the chord derives from the dominant[https://en.wikipedia.org/wiki/Dominant_(music)] scale degree, which is the only degree of a [[diatonic scale]] on which it is found. However, in many musical genres, “dominant seventh chord” informally refers to any chord with this general structure, regardless of where it appears in the overall scale.

== JI Tunings ==

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* 108:135:160:192 (1⁄1–5⁄4–[[40/27|40⁄27]]–[[16/9|16⁄9]]) is found on the dominant scale degree if the second degree of the diatonic scale is tuned a comma lower than in Zarlino (10⁄9 instead of 9⁄8).

* 128:160:192:225 (1⁄1–5⁄4–3⁄2–[[225/128|225⁄128]]), the [[Neapolitan chord]], is found on the chords rooted at [[16/15|16⁄15]] (♭II) and [[8/5|8⁄5]] (♭VI) in the [[duodene]].

* 128:160:192:225 (1⁄1–5⁄4–3⁄2–[[225/128|225⁄128]]), the [[Neapolitan chord]], is found on the chords rooted at [[16/15|16⁄15]] (♭II) and [[8/5|8⁄5]] (♭VI) in the [[duodene]]. (Although 225⁄128 is often considered an augmented sixth rather than a minor seventh, in [[Meantone_family#Septimal_meantone|septimal meantone]] it is tuned identically to the [[harmonic seventh chord]].)

In the [[7-limit]]:

* 4:5:6:7 (1⁄1–5⁄4–3⁄2–7⁄4), the [[harmonic seventh chord]] is a consonant chord in the 7-limit, often used as a tuning target in barbershop music.

* 4:5:6:7 (1⁄1–5⁄4–3⁄2–7⁄4), the [[harmonic seventh chord]] is a consonant chord in the 7-limit, often used as a tuning target in barbershop music[https://en.wikipedia.org/wiki/Harmonic_seventh_chord#Barbershop_seventh].

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 {{Wikipedia|Dominant seventh chord}}
-A '''dominant seventh chord''' is a [[tetrad]] comprising a root, a [[major]] third, a fifth, and a [[minor]] seventh. The name of the chord derives from the dominant scale degree[https://en.wikipedia.org/wiki/Dominant_(music)], which is the only degree of a [[diatonic scale]] on which a chord with this structure is found. However, in many musical genres, “dominant seventh chord” informally refers to any chord with this general structure, regardless of where it appears in the overall scale.
+A '''dominant seventh chord''' is a [[tetrad]] comprising a root, a [[major]] third, a fifth, and a [[minor]] seventh. The name of the chord derives from the dominant[https://en.wikipedia.org/wiki/Dominant_(music)] scale degree, which is the only degree of a [[diatonic scale]] on which it is found. However, in many musical genres, “dominant seventh chord” informally refers to any chord with this general structure, regardless of where it appears in the overall scale.
 == JI Tunings ==
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 * 108:135:160:192 (1⁄1–5⁄4–[[40/27|40⁄27]]–[[16/9|16⁄9]]) is found on the dominant scale degree if the second degree of the diatonic scale is tuned a comma lower than in Zarlino (10⁄9 instead of 9⁄8).
-* 128:160:192:225 (1⁄1–5⁄4–3⁄2–[[225/128|225⁄128]]), the [[Neapolitan chord]], is found on the chords rooted at [[16/15|16⁄15]] (♭II) and [[8/5|8⁄5]] (♭VI) in the [[duodene]].
+* 128:160:192:225 (1⁄1–5⁄4–3⁄2–[[225/128|225⁄128]]), the [[Neapolitan chord]], is found on the chords rooted at [[16/15|16⁄15]] (♭II) and [[8/5|8⁄5]] (♭VI) in the [[duodene]]. (Although 225⁄128 is often considered an augmented sixth rather than a minor seventh, in [[Meantone_family#Septimal_meantone|septimal meantone]] it is tuned identically to the [[harmonic seventh chord]].)
 In the [[7-limit]]:
-* 4:5:6:7 (1⁄1–5⁄4–3⁄2–7⁄4), the [[harmonic seventh chord]] is a consonant chord in the 7-limit, often used as a tuning target in barbershop music.
+* 4:5:6:7 (1⁄1–5⁄4–3⁄2–7⁄4), the [[harmonic seventh chord]] is a consonant chord in the 7-limit, often used as a tuning target in barbershop music[https://en.wikipedia.org/wiki/Harmonic_seventh_chord#Barbershop_seventh].