Dominant seventh chord: Difference between revisions
Mention Archytas and Dominant. |
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[[Septimal meantone]], which is well-represented by the historically prevalent [[quarter-comma meantone]]), tempers together all three of these sevenths (9/5~16/9~25/14), so any of the above interpretations may be relevant for dominant seventh chords found in common-practice music. (→ [[Didymic chords #Dominant seventh chord]]) | [[Septimal meantone]], which is well-represented by the historically prevalent [[quarter-comma meantone]]), tempers together all three of these sevenths (9/5~16/9~25/14), so any of the above interpretations may be relevant for dominant seventh chords found in common-practice music. (→ [[Didymic chords #Dominant seventh chord]]) | ||
In [[archytas]] temperament, which tempers out [[64/63]], ~16/9 is equated with ~[[7/4]] rather than 25/14, resulting in an [[essentially just]] [[7-odd-limit]] chord that tempers together [[4:5:6:7]] and [[36:45:54:64]]: | In [[archytas]] temperament, which tempers out [[64/63]], ~16/9 is equated with ~[[7/4]] rather than 25/14, resulting in an [[Dyadic chord#Essentially tempered dyadic chord|essentially just]] [[7-odd-limit]] chord that tempers together [[4:5:6:7]] and [[36:45:54:64]]: | ||
* (Archytas) 1/1 - [[5/4]] - [[3/2]] - [[7/4]] | * (Archytas) 1/1 - [[5/4]] - [[3/2]] - [[7/4]] | ||