Dominant seventh chord: Difference between revisions
clarify conventional 5-limit meantone vs. septimal interpretation |
→In meantone: link to septimal meantone chords instead of didymic, to clarify that the chord is only “essentially tempered” in the septimal variant of meantone |
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== In meantone == | == In meantone == | ||
In [[meantone]] (including [[12edo]]), on which traditional tonal harmony is built, the dominant seventh chord has an [[intervallic odd limit]] of 25: | In [[meantone]] (including [[12edo]]), on which traditional tonal harmony is built, the dominant seventh chord has an [[intervallic odd limit]] of 25: | ||
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Note the ~9/5 is simultaneously ~[[16/9]], and the interval between the ~5/4 and ~9/5 is ~[[36/25]]. | Note the ~9/5 is simultaneously ~[[16/9]], and the interval between the ~5/4 and ~9/5 is ~[[36/25]]. | ||
However, in [[septimal meantone]], which is well-represented by the historically prevalent [[quarter-comma meantone]], that ~[[36/25]] is tempered to ~[[10/7]], making the chord an [[essentially tempered chord]] in the [[9-odd-limit]]. | However, in [[septimal meantone]], which is well-represented by the historically prevalent [[quarter-comma meantone]], that ~[[36/25]] is tempered to ~[[10/7]], making the chord an [[essentially tempered chord]] in the [[9-odd-limit]]. (→ [[Septimal meantone chords]]) | ||
== In just intonation == | == In just intonation == | ||