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'''14:21:24''' is a [[7-limit]] [[chord]] found as a subset of the subharmonic sixth chord, [[70:84:105:120]], or of the septimal major sixth chord, [[14:18:21:24]]. Due to having no fives, it is the first utonal chord that deviates from traditional harmony. As such, it is a candidate for [[metallic harmony]], a form of [[extraclassical tonality]] that employs 7 instead of 5 as its other prime. | '''14:21:24''' is a [[7-limit]] [[chord]] found as a subset of the subharmonic sixth chord, [[70:84:105:120]], or of the septimal major sixth chord, [[14:18:21:24]]. Due to having no fives, it is the first utonal chord that deviates from traditional harmony. As such, it is a candidate for [[metallic harmony]], a form of [[extraclassical tonality]] that employs 7 instead of 5 as its other prime. | ||
Its first rotation, '''21:24:28''', is significant because it consists of the intervals [[8/7]] and [[7/6]] stacked on top of each other. The intervals in this chord divide the [[4/3|perfect fourth]] rather than the [[3/2|perfect fifth]], and contrast by [[49/48]], similarly to how [[5 | Its first rotation, '''21:24:28''', is significant because it consists of the intervals [[8/7]] and [[7/6]] stacked on top of each other. The intervals in this chord divide the [[4/3|perfect fourth]] rather than the [[3/2|perfect fifth]], and contrast by [[49/48]], similarly to how [[6/5]] and [[5/4]] contrast by [[25/24]] in [[10:12:15]]. By swapping the order of 8/7 and 7/6, we get the otonal inverse of 21:24:28, that being [[6:7:8]]. | ||
Another notable setting is the open voicing 7:12:21, which shares the property with | Another notable setting is the open voicing 7:12:21, which shares the property with 21:24:28 that its intervals, [[12/7]] and [[7/4]], contrast by 49/48, but they divide the [[3/1|perfect twelfth]] instead. Its otonal version is 4:7:12, an open voicing of [[4:6:7]]. | ||
Its second rotation, '''12:14:21''', is also significant because it functions as the fifthless version of the septimal minor seventh chord, [[12:14:18:21]]. | Its second rotation, '''12:14:21''', is also significant because it functions as the fifthless version of the septimal minor seventh chord, [[12:14:18:21]]. | ||
Revision as of 20:54, 22 January 2026
| Chord information |
14:21:24 is a 7-limit chord found as a subset of the subharmonic sixth chord, 70:84:105:120, or of the septimal major sixth chord, 14:18:21:24. Due to having no fives, it is the first utonal chord that deviates from traditional harmony. As such, it is a candidate for metallic harmony, a form of extraclassical tonality that employs 7 instead of 5 as its other prime.
Its first rotation, 21:24:28, is significant because it consists of the intervals 8/7 and 7/6 stacked on top of each other. The intervals in this chord divide the perfect fourth rather than the perfect fifth, and contrast by 49/48, similarly to how 6/5 and 5/4 contrast by 25/24 in 10:12:15. By swapping the order of 8/7 and 7/6, we get the otonal inverse of 21:24:28, that being 6:7:8.
Another notable setting is the open voicing 7:12:21, which shares the property with 21:24:28 that its intervals, 12/7 and 7/4, contrast by 49/48, but they divide the perfect twelfth instead. Its otonal version is 4:7:12, an open voicing of 4:6:7.
Its second rotation, 12:14:21, is also significant because it functions as the fifthless version of the septimal minor seventh chord, 12:14:18:21.