27:32:40: Difference between revisions
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{{Infobox Chord|ColorName=wa yo-5 or w(y5)}} | {{Infobox Chord|ColorName=wa yo-5 or w(y5)}} | ||
'''27:32:40''' is a 5-limit [[minor triad]] found on the ii ({{Frac|9|8}}) of Ptolemy's intense diatonic scale ([[Zarlino]]), perhaps the most common [[5-limit]] diatonic. | '''27:32:40''' is a 5-limit [[minor triad]] found on the ii ({{Frac|9|8}}) of Ptolemy's intense diatonic scale ([[Zarlino]]), perhaps the most common [[5-limit]] diatonic. Unlike [[10:12:15]], which appears on the iii and vi of the same scale, 27:32:40 is [[otonal]]. | ||
As has been noted by multiple theorists of a more traditional Western Classical school of thought, this chord is not ideal when situated on the ii scale degree of a major scale, for a number of different possible reasons. However, because of the way 5-limit diatonic music works, the occurrence of this chord in a simple 5-limit diatonic scale is inevitable outside of [[meantone]]. Thus, [[User:Aura|Aura]] has decided to place this chord on the vi scale degree while using [[54:64:81]] on the ii scale degree in his diatonic major scales. This has the effect of allowing the vi-ii-V-I sequence in the major scale's [[Wikipedia: Circle progression|circle progression]] to actually function in such a way as to make each chord in the sequence seem progressively less tense, thus making the progression overall more coherent. | |||
[[Category:Minor triads|##]] <!-- 2-digit first number --> | [[Category:Minor triads|##]] <!-- 2-digit first number --> | ||
Revision as of 16:49, 25 October 2025
| Chord information |
27:32:40 is a 5-limit minor triad found on the ii (9⁄8) of Ptolemy's intense diatonic scale (Zarlino), perhaps the most common 5-limit diatonic. Unlike 10:12:15, which appears on the iii and vi of the same scale, 27:32:40 is otonal.
As has been noted by multiple theorists of a more traditional Western Classical school of thought, this chord is not ideal when situated on the ii scale degree of a major scale, for a number of different possible reasons. However, because of the way 5-limit diatonic music works, the occurrence of this chord in a simple 5-limit diatonic scale is inevitable outside of meantone. Thus, Aura has decided to place this chord on the vi scale degree while using 54:64:81 on the ii scale degree in his diatonic major scales. This has the effect of allowing the vi-ii-V-I sequence in the major scale's circle progression to actually function in such a way as to make each chord in the sequence seem progressively less tense, thus making the progression overall more coherent.