User:Unque/Barbershop Tuning Theory: Difference between revisions

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The tuning of the Half-Diminished Seventh chord and its inversions are some of the most controversial in Barbershop music, especially due to differing preferences for "rooting" the chord on a specific interval. In general, a chord tends to feel most rooted when its harmonic segment form is simplest; for instance, the 8 in 6:7:8:10 sounds more like the root than the 6 does, because the simplest inversion is 4:5:6:7.

If one wishes to root the chord as a Half-Diminished Seventh, then inversions of 5:6:7:9 are the most common interpretation. If one instead wishes to root the chord as a Minor ~~Add6~~, the chord is most commonly tuned as a standard 1/(6:5:4) Minor Triad with some type of Major Sixth (typically ~~either~~ 5/3 or 12/7) added on top.

If one wishes to root the chord as a Half-Diminished Seventh, then inversions of 5:6:7:9 are the most common interpretation. If one instead wishes to root the chord as a Minor triad with an added Major Sixth, the chord is most commonly tuned as a standard 1/(6:5:4) Minor Triad with some type of Major Sixth (typically 5/3, or less commonly 12/7) added on top.

Additionally, the chord can theoretically be rooted as an inversion of a root-second-fourth-sixth tetrad, which could yield a subset of the [[8afdo|Acoustic Scale]]. While not technically invalid, however, this approach is purely theoretical, and is not used or even attested anywhere.

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 The tuning of the Half-Diminished Seventh chord and its inversions are some of the most controversial in Barbershop music, especially due to differing preferences for "rooting" the chord on a specific interval.  In general, a chord tends to feel most rooted when its harmonic segment form is simplest; for instance, the 8 in 6:7:8:10 sounds more like the root than the 6 does, because the simplest inversion is 4:5:6:7.
-If one wishes to root the chord as a Half-Diminished Seventh, then inversions of 5:6:7:9 are the most common interpretation.  If one instead wishes to root the chord as a Minor Add6, the chord is most commonly tuned as a standard 1/(6:5:4) Minor Triad with some type of Major Sixth (typically either 5/3 or 12/7) added on top.
+If one wishes to root the chord as a Half-Diminished Seventh, then inversions of 5:6:7:9 are the most common interpretation.  If one instead wishes to root the chord as a Minor triad with an added Major Sixth, the chord is most commonly tuned as a standard 1/(6:5:4) Minor Triad with some type of Major Sixth (typically 5/3, or less commonly 12/7) added on top.
 Additionally, the chord can theoretically be rooted as an inversion of a root-second-fourth-sixth tetrad, which could yield a subset of the [[8afdo|Acoustic Scale]].  While not technically invalid, however, this approach is purely theoretical, and is not used or even attested anywhere.