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{{Infobox chord|ColorName = r,z7 | {{Infobox chord|ColorName = ru zo-7 or r,z7}} | ||
'''28:36:42:49''' is a septimal [[dominant seventh chord]]. This chord is similar to the harmonic seventh chord [[4:5:6:7]], except the major third is inflected up by [[36/35]] from [[5/4]] to [[9/7]]. This makes it stand out from the rest of the chord, and the [[49/36]] interval between the 9/7 and the [[7/4]] acts as a dissonance. This is in contrast to the [[5-limit]] [[20:25:30:36]] dominant seventh chord, which has the seventh inflected up by 36/35 from [[7/4]] to [[9/5]] compared to 4:5:6:7. | '''28:36:42:49''' is a septimal [[dominant seventh chord]]. This chord is similar to the harmonic seventh chord [[4:5:6:7]], except the major third is inflected up by [[36/35]] from [[5/4]] to [[9/7]]. This makes it stand out from the rest of the chord, and the [[49/36]] interval between the 9/7 and the [[7/4]] acts as a dissonance. This is in contrast to the [[5-limit]] [[20:25:30:36]] dominant seventh chord, which has the seventh inflected up by 36/35 from [[7/4]] to [[9/5]] compared to 4:5:6:7. | ||
Revision as of 00:08, 11 March 2026
| Chord information |
28:36:42:49 is a septimal dominant seventh chord. This chord is similar to the harmonic seventh chord 4:5:6:7, except the major third is inflected up by 36/35 from 5/4 to 9/7. This makes it stand out from the rest of the chord, and the 49/36 interval between the 9/7 and the 7/4 acts as a dissonance. This is in contrast to the 5-limit 20:25:30:36 dominant seventh chord, which has the seventh inflected up by 36/35 from 7/4 to 9/5 compared to 4:5:6:7.
This chord occurs on the V of the diatonic scale in superpyth temperament. Note that the tritone represents 15/11 in undecimal superpyth, which reduces it to a 15-odd-limit swetismic essentially tempered chord.
On the dominant, this chord is 3/2–27/14–9/4–21/8 above the tonic, which is octave-equivalent to 27/28–9/8–21/16–3/2. This chord resolves to 4:5:6 on the tonic by inflecting the 27/28 up by 28/27 to 1/1, and the 21/16 down by 21/20 to 5/4. 28/27 is often considered a better interval for voice leading than 16/15 due to its size of 62.96 cents, which is much closer to the optimum of around 70 cents[1] than 16/15, which is 111.73 cents.
See also
References
- ↑ Secor, George. "The 17-tone puzzle — and the Neo-medieval Key That Unlocks It" Xenharmonikôn 18, 2006. http://anaphoria.com/Secor17puzzle.pdf