64:81:96: Difference between revisions
Jump to navigation
Jump to search
Expanded the article- will have to link articles on tetrads later. Tags: Mobile edit Mobile web edit |
No edit summary |
||
| Line 1: | Line 1: | ||
{{Infobox Chord|ColorName=lawa or Lw}} | {{Infobox Chord|ColorName=lawa or Lw}} | ||
'''64:81:96''' is a [[major triad]] found on the I, IV, and V of the [[3-limit]] [[5L 2s|diatonic scale]]. It is easily referred to as the '''Pythagorean major triad'''. | '''64:81:96''' is a [[major triad]] found on the I, IV, and V of the [[3-limit]] [[5L 2s|diatonic scale]]. It is easily referred to as the '''Pythagorean major triad''', and, unlike [[4:5:6]], 54:64:81 is [[ambitonal]]. | ||
In [[meantone]] this chord is tempered together with | In [[meantone]] this chord is tempered together with 4:5:6; it may be considered a 3-limit approximation of that chord, or used in its own right as a chord 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 IV degree in Ionian mode, thus preventing that scale degree from being tonicized by accident and lessening tonal ambiguity in plagal and semiplagal cadences, as well as other chord progressions that use both I and IV. | ||
[[Category:Major triads|##]] <!-- 2-digit first number --> | [[Category:Major triads|##]] <!-- 2-digit first number --> | ||
Revision as of 17:06, 25 October 2025
| Chord information |
64:81:96 is a major triad found on the I, IV, and V of the 3-limit diatonic scale. It is easily referred to as the Pythagorean major triad, and, unlike 4:5:6, 54:64:81 is ambitonal.
In meantone this chord is tempered together with 4:5:6; it may be considered a 3-limit approximation of that chord, or used in its own right as a chord 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 IV degree in Ionian mode, thus preventing that scale degree from being tonicized by accident and lessening tonal ambiguity in plagal and semiplagal cadences, as well as other chord progressions that use both I and IV.