4:5:6:7: Difference between revisions
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{{Infobox Chord|4:5:6:7|ColorName=yo zo-7 or y,z7, har-7 or h7}} | {{Infobox Chord|4:5:6:7|ColorName=yo zo-7 or y,z7, har-7 or h7}} | ||
{{Wikipedia|Harmonic seventh chord}} | {{Wikipedia|Harmonic seventh chord}} | ||
'''4:5:6:7''', the ''harmonic seventh chord'', is | '''4:5:6:7''', the ''harmonic seventh chord'', is the simplest [[tetrad]] in [[7-limit]] harmony. It is often used as a tuning target for the [[dominant seventh chord]] in barbershop music (→ [[Wikipedia: Harmonic seventh chord #Barbershop seventh ]]), and also for the German augmented sixth chord in [[septimal meantone]]. | ||
It is a [[dyadic chord]] in the [[odd limit|7-odd limit]], with its most complex interval a [[7/5]] tritone. It is the [[octave reduction|octave-reduced]] version of the first four odd harmonics, 1:3:5:7, or the first eight harmonics, 1::8. It is the fundamental otonal consonance of the 7-odd-limit. The utonal minor version of this chord is [[70:84:105:120|1-6/5-3/2-12/7]], sometimes called the ''harmonic sixth chord''. The harmonic seventh chord can be modified by inflecting the [[5/4]] down by [[25/24]] and [[7/4]] down by [[49/48]] to get the harmonic sixth chord. | It is a [[dyadic chord]] in the [[odd limit|7-odd limit]], with its most complex interval a [[7/5]] tritone. It is the [[octave reduction|octave-reduced]] version of the first four odd harmonics, 1:3:5:7, or the first eight harmonics, 1::8. It is the fundamental otonal consonance of the 7-odd-limit. The utonal minor version of this chord is [[70:84:105:120|1-6/5-3/2-12/7]], sometimes called the ''harmonic sixth chord''. The harmonic seventh chord can be modified by inflecting the [[5/4]] down by [[25/24]] and [[7/4]] down by [[49/48]] to get the harmonic sixth chord. | ||
[[Category:Dominant seventh chords|#]] <!-- 1-digit first number --> | == Rotations around the octave == | ||
[[File:SculpEufaDem4-5-6-7-onD.mp3|none|thumb|4:5:6:7 "Root position"]] | |||
[[File:SculpEufaDem5-6-7-8-onD.mp3|none|thumb|5:6:7:8 "1st inversion"]] | |||
[[Category:Dominant seventh chords|#]] | |||
[[File:SculpEufaDem6-7-8-10-onD.mp3|none|thumb|6:7:8:10 "2nd inversion"]] | |||
[[File:SculpEufaDem7-8-10-12-onD.mp3|none|thumb|7:8:10:12 "3rd inversion"]] | |||
== Related chords == | |||
Chords related to this triad (5-limit except where noted): | |||
* [[2:3:5:7]] - open voicing | |||
* [[60:70:84:105]] - chord inversion | |||
* [[4:5:6:7:9]] - adds 9/4 (two octave spanning pentad) | |||
* [[12:14:18:21]] - substitutes 5/4 with 7/6<!-- 1-digit first number --> | |||
[[Category:German sixth chords|#]] <!-- 1-digit first number --> | [[Category:German sixth chords|#]] <!-- 1-digit first number --> | ||
Revision as of 17:50, 8 November 2025
| Chord information |
har-7 or h7
4:5:6:7, the harmonic seventh chord, is the simplest tetrad in 7-limit harmony. It is often used as a tuning target for the dominant seventh chord in barbershop music (→ Wikipedia: Harmonic seventh chord #Barbershop seventh ), and also for the German augmented sixth chord in septimal meantone.
It is a dyadic chord in the 7-odd limit, with its most complex interval a 7/5 tritone. It is the octave-reduced version of the first four odd harmonics, 1:3:5:7, or the first eight harmonics, 1::8. It is the fundamental otonal consonance of the 7-odd-limit. The utonal minor version of this chord is 1-6/5-3/2-12/7, sometimes called the harmonic sixth chord. The harmonic seventh chord can be modified by inflecting the 5/4 down by 25/24 and 7/4 down by 49/48 to get the harmonic sixth chord.
Rotations around the octave
Related chords
Chords related to this triad (5-limit except where noted):
- 2:3:5:7 - open voicing
- 60:70:84:105 - chord inversion
- 4:5:6:7:9 - adds 9/4 (two octave spanning pentad)
- 12:14:18:21 - substitutes 5/4 with 7/6