6:7:9: Difference between revisions
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{{Infobox Chord|ColorName=zo or z}} | {{Infobox Chord|ColorName=zo or z}} | ||
'''6:7:9''', a ''subminor triad'' or ''septimal minor triad'', is a triad in the [[7-limit]] sometimes used in place of a [[minor triad]]. It appears as a minor triad in the [[5L 2s|diatonic scale]] of [[superpyth]], as [[64/63]] being tempered out means [[32/27]] is equated with [[7/6]]. This is in contrast to [[meantone]], where 32/27 is equated with [[6/5]]. | '''6:7:9''', a ''subminor triad'' or ''septimal minor triad'', is a triad in the [[7-limit]] sometimes used in place of a [[minor triad]]. It appears as a minor triad in the [[5L 2s|diatonic scale]] of [[superpyth]], as [[64/63]] being tempered out means [[32/27]] is equated with [[7/6]]. This is in contrast to [[meantone]], where 32/27 is equated with [[6/5]], and thus the minor triad becomes [[10:12:15]]. | ||
6:7:9 is the second-simplest [[otonal]] triad of the form Root-3rd-P5, past [[4:5:6]], and is thus very [[consonant]]. However, its inverse, [[14:18:21]], may sound less stable due to its higher otonal complexity. In addition, the [[7/6]] and [[9/7]] intervals differ by [[54/49]], an interval of 168 [[cent]]s, which means the subminor and supermajor triads don't contrast very well the same way 5-limit triads do. Nonetheless, these triads may be used in progressions together with the 5-limit ones. | 6:7:9 is the second-simplest [[otonal]] triad of the form Root-3rd-P5, past [[4:5:6]], and is thus very [[consonant]]. However, its inverse, [[14:18:21]], may sound less stable due to its higher otonal complexity. In addition, the [[7/6]] and [[9/7]] intervals differ by [[54/49]], an interval of 168 [[cent]]s, which means the subminor and supermajor triads don't contrast very well the same way 5-limit triads do. Nonetheless, these triads may be used in progressions together with the 5-limit ones. | ||
Revision as of 08:59, 22 December 2025
| Chord information |
6:7:9, a subminor triad or septimal minor triad, is a triad in the 7-limit sometimes used in place of a minor triad. It appears as a minor triad in the diatonic scale of superpyth, as 64/63 being tempered out means 32/27 is equated with 7/6. This is in contrast to meantone, where 32/27 is equated with 6/5, and thus the minor triad becomes 10:12:15.
6:7:9 is the second-simplest otonal triad of the form Root-3rd-P5, past 4:5:6, and is thus very consonant. However, its inverse, 14:18:21, may sound less stable due to its higher otonal complexity. In addition, the 7/6 and 9/7 intervals differ by 54/49, an interval of 168 cents, which means the subminor and supermajor triads don't contrast very well the same way 5-limit triads do. Nonetheless, these triads may be used in progressions together with the 5-limit ones.
See also
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Todo: expand, improve readability, research
This chord may be closely connected to 7-limit interpretations of the Blues scale. |