Dominant seventh chord: Difference between revisions
avoid describing the fifth of a dominant seventh as “perfect”, since it is sometimes grave instead |
+chord in meantone, the most important prototype |
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The name of the chord derives from the {{w|Dominant (music)|dominant}} 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. | The name of the chord derives from the {{w|Dominant (music)|dominant}} 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 | == In meantone == | ||
{{See also| Didymic chords }} | |||
In [[meantone]] (including [[12edo]]), on which traditional tonal harmony is built, the dominant seventh chord is a [[9-odd-limit]] [[essentially tempered chord]]: | |||
* (Meantone) 1-5/4-3/2-9/5 with steps 5/4, 6/5, 6/5. | |||
Note the ~9/5 is simultaneously ~16/9, and the interval between the third and seventh is ~10/7. Therefore, every interval of this chord is within the 9-odd-limit tonality diamond. | |||
== In JI == | |||
There are many possibilities of chords outside meantone, each with its own strengths and weaknesses. | |||
In the [[3-limit]]: | In the [[3-limit]]: | ||