70:84:105:120: Difference between revisions

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{{Infobox Chord|70:84:105:120|ColorName=gu ru-6 or g,r6, sub-6 or s6}}

'''70:84:105:120''', the ''subharmonic sixth chord''<ref>[[Flora Canou]]. [[User:FloraC/Analysis on the 13-limit just intonation space: episode ii #Chapter II. Generic Rooted Chord Construction|"Chapter II. Generic Rooted Chord Construction", ''Analysis on the 13-limit Just Intonation Space: Episode II'']]. </ref>, is a [[tetrad]] in [[7-limit]] harmony. It is the inverse of 4:5:6:7, the [[harmonic seventh chord]]. ~~See also its~~ [[~~Chord homonym|homonym~~]] [[~~60:70:84:105~~]] (~~a ''~~minor ~~7th flat-5th~~ chord~~'' or ''half-diminished~~ chord'').

'''70:84:105:120''', the ''subharmonic sixth chord''<ref>[[Flora Canou]]. [[User:FloraC/Analysis on the 13-limit just intonation space: episode ii #Chapter II. Generic Rooted Chord Construction|"Chapter II. Generic Rooted Chord Construction", ''Analysis on the 13-limit Just Intonation Space: Episode II'']]. </ref>, is a [[tetrad]] in [[7-limit]] harmony. It is the inverse of 4:5:6:7, the [[harmonic seventh chord]]. It can be considered the minor version of 4:5:6:7, and serves as the fundamental [[utonal]] consonance of the [[7-odd-limit]]. On C, it can be notated as Cm(S6), where m is minor and S is supermajor.

The 4:5:6:7 chord may be modified to obtain this chord by flattening the [[5/4]] by [[25/24]] and the [[7/4]] by [[49/48]]. The intervals [[25/24]] and [[49/48]] thus serve as chromas, and they are equated when [[50/49]] is tempered out, such as in [[pajara]]. Alternatively two 49/48's can be equated to 25/24 by tempering out [[2401/2400]], which is far more accurate, and is done in [[miracle]] among other things.

== References ==

== See also ==

~~{{Stub}}~~

* Its [[Chord homonym|homonym]] [[60:70:84:105]] (a ''minor 7th flat-5th chord'' or ''half-diminished chord'').

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 {{Infobox Chord|70:84:105:120|ColorName=gu ru-6 or g,r6, sub-6 or s6}}
-'''70:84:105:120''', the ''subharmonic sixth chord''<ref>[[Flora Canou]]. [[User:FloraC/Analysis on the 13-limit just intonation space: episode ii #Chapter II. Generic Rooted Chord Construction|"Chapter II. Generic Rooted Chord Construction", ''Analysis on the 13-limit Just Intonation Space: Episode II'']]. </ref>, is a [[tetrad]] in [[7-limit]] harmony. It is the inverse of 4:5:6:7, the [[harmonic seventh chord]]. See also its [[Chord homonym|homonym]] [[60:70:84:105]] (a ''minor 7th flat-5th chord'' or ''half-diminished chord'').
+'''70:84:105:120''', the ''subharmonic sixth chord''<ref>[[Flora Canou]]. [[User:FloraC/Analysis on the 13-limit just intonation space: episode ii #Chapter II. Generic Rooted Chord Construction|"Chapter II. Generic Rooted Chord Construction", ''Analysis on the 13-limit Just Intonation Space: Episode II'']]. </ref>, is a [[tetrad]] in [[7-limit]] harmony. It is the inverse of 4:5:6:7, the [[harmonic seventh chord]]. It can be considered the minor version of 4:5:6:7, and serves as the fundamental [[utonal]] consonance of the [[7-odd-limit]]. On C, it can be notated as Cm(S6), where m is minor and S is supermajor.
+The 4:5:6:7 chord may be modified to obtain this chord by flattening the [[5/4]] by [[25/24]] and the [[7/4]] by [[49/48]]. The intervals [[25/24]] and [[49/48]] thus serve as chromas, and they are equated when [[50/49]] is tempered out, such as in [[pajara]]. Alternatively two 49/48's can be equated to 25/24 by tempering out [[2401/2400]], which is far more accurate, and is done in [[miracle]] among other things.
+{{todo|inline=1|add sound example}}
 == References ==
 <references/>
+== See also ==
-{{Stub}}
+* Its [[Chord homonym|homonym]] [[60:70:84:105]] (a ''minor 7th flat-5th chord'' or ''half-diminished chord'').