Talk:70:90:105:126: Difference between revisions
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:: In negative harmony practice, a chord is inverted not w.r.t the tonic but w.r.t. the midpoint of the tonic and fifth. The major triad inverts to the minor triad, but the dominant seventh chord inverts to the minor-major sixth chord. Since the minor seventh is a minor third above the fifth, inverting it makes it a minor third below the tonic, and octave-reducing it gives the major sixth. | :: In negative harmony practice, a chord is inverted not w.r.t the tonic but w.r.t. the midpoint of the tonic and fifth. The major triad inverts to the minor triad, but the dominant seventh chord inverts to the minor-major sixth chord. Since the minor seventh is a minor third above the fifth, inverting it makes it a minor third below the tonic, and octave-reducing it gives the major sixth. | ||
:: Becuz you paired the dominant seventh chord with the minor seventh flat-fifth chord, | :: Becuz you paired the dominant seventh chord with the minor seventh flat-fifth chord, your nomenclature shows several asymmetries: | ||
::* Your harmonic ninth chord is an extension of your harmonic seventh chord, but your "subharmonic ninth chord" isn't an extension of your "subharmonic seventh chord" up to octave reduction. | ::* Your harmonic ninth chord is an extension of your harmonic seventh chord, but your "subharmonic ninth chord" isn't an extension of your "subharmonic seventh chord" up to octave reduction. | ||
::* Your harmonic eleventh chord corresponds to a common name, but your "subharmonic eleventh chord" doesn't. | ::* Your harmonic eleventh chord corresponds to a common name, but your "subharmonic eleventh chord" doesn't. | ||