54:64:81: Difference between revisions
Jump to navigation
Jump to search
add color name |
No edit summary |
||
| Line 1: | Line 1: | ||
{{Infobox Chord|ColorName=wa or w}} | {{Infobox Chord|ColorName=wa or w}} | ||
'''54:64:81''', is a [[minor triad]] found on the ii, iii, and vi of the [[3-limit]] [[5L 2s|diatonic scale]]. | '''54:64:81''', is a [[minor triad]] found on the ii, iii, and vi of the [[3-limit]] [[5L 2s|diatonic scale]]. It is easily referred to as the '''Pythagorean minor triad''', and, unlike [[10:12:15]], 54:64:81 is [[ambitonal]]. | ||
In [[meantone]] this chord is [[tempered together]] with both | In [[meantone]] this chord is [[tempered together]] with both 10:12:15 and [[27:32:40]], so it may be considered a 3-limit approximation of those chords, or a chord in its own right with a less-stable third. Accordingly, [[User:Aura|Aura]] takes advantage of these properties in his non-meantone [[5-limit]] music where it shows up as the triad built on the ii degree in Ionian mode in place of 27:32:40, thus allowing it to be more reliably used in the major scale's [[Wikipedia: Circle progression|circle progression]], while also cutting back on tonal ambiguity. | ||
[[Category:Minor triads|##]] <!-- 2-digit first number --> | [[Category:Minor triads|##]] <!-- 2-digit first number --> | ||
Revision as of 17:08, 25 October 2025
| Chord information |
54:64:81, is a minor triad found on the ii, iii, and vi of the 3-limit diatonic scale. It is easily referred to as the Pythagorean minor triad, and, unlike 10:12:15, 54:64:81 is ambitonal.
In meantone this chord is tempered together with both 10:12:15 and 27:32:40, so it may be considered a 3-limit approximation of those chords, or a chord in its own right with a less-stable third. Accordingly, Aura takes advantage of these properties in his non-meantone 5-limit music where it shows up as the triad built on the ii degree in Ionian mode in place of 27:32:40, thus allowing it to be more reliably used in the major scale's circle progression, while also cutting back on tonal ambiguity.