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This chord is similar to the "dominant seventh chord" in 12edo, the most significant difference being the mistuning of the harmonic seventh. In 12edo, the interval closest to the harmonic seventh is the minor seventh at 1000 cents. The difference of about 31 cents is striking, and especially noticable when the chords are presented next to one another. While the "dominant seventh chord" of 12edo is treated as a dissonance that needs to resolve (usually in the chord pattern V7 to I), the "harmonic seventh chord" has a much different flavor and is often treated by composers in Just Intonation as a consonance.

Another interval found in a harmonic seventh chord is the septimal tritone of [[7/5]], which represents the interval between the major third (5) and the harmonic seventh (7). This interval, at 583 cents, sounds distinct from 12edo's half-octave tritone of 600 cents. In just intonation, 7/5 is treated as a ''consonant tritone'', and has a much mellower and sweeter sound than the 600-cent tritone we are used to hearing. That said, it can also be argued on the basis of the fact that this interval is smaller than 600 cents that 7/5 acts more as a type of augmented fourth than a diminished fifth- an analysis that is required in cases where this interval occurs in a scale that demonstrates [[Wikipedia:Rothenberg propriety|Rothenberg propriety]].

Another interval found in a harmonic seventh chord is the septimal tritone of [[7/5]], which represents the interval between the major third (5) and the harmonic seventh (7). This interval, at 583 cents, sounds distinct from 12edo's half-octave tritone of 600 cents. In just intonation, 7/5 is treated as a ''consonant tritone'', and has a much mellower and sweeter sound than the 600-cent tritone we are used to hearing.

Since 12edo does not distinguish between a minor and subminor third or a major and supermajor second, the intervals between adjacent members of the chord do not have the pattern of decreasing step size which characterizes the harmonic seventh chord:

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 This chord is similar to the "dominant seventh chord" in 12edo, the most significant difference being the mistuning of the harmonic seventh. In 12edo, the interval closest to the harmonic seventh is the minor seventh at 1000 cents. The difference of about 31 cents is striking, and especially noticable when the chords are presented next to one another. While the "dominant seventh chord" of 12edo is treated as a dissonance that needs to resolve (usually in the chord pattern V7 to I), the "harmonic seventh chord" has a much different flavor and is often treated by composers in Just Intonation as a consonance.
-Another interval found in a harmonic seventh chord is the septimal tritone of [[7/5]], which represents the interval between the major third (5) and the harmonic seventh (7). This interval, at 583 cents, sounds distinct from 12edo's half-octave tritone of 600 cents. In just intonation, 7/5 is treated as a ''consonant tritone'', and has a much mellower and sweeter sound than the 600-cent tritone we are used to hearing.  That said, it can also be argued on the basis of the fact that this interval is smaller than 600 cents that 7/5 acts more as a type of augmented fourth than a diminished fifth- an analysis that is required in cases where this interval occurs in a scale that demonstrates [[Wikipedia:Rothenberg propriety|Rothenberg propriety]].
+Another interval found in a harmonic seventh chord is the septimal tritone of [[7/5]], which represents the interval between the major third (5) and the harmonic seventh (7). This interval, at 583 cents, sounds distinct from 12edo's half-octave tritone of 600 cents. In just intonation, 7/5 is treated as a ''consonant tritone'', and has a much mellower and sweeter sound than the 600-cent tritone we are used to hearing.
 Since 12edo does not distinguish between a minor and subminor third or a major and supermajor second, the intervals between adjacent members of the chord do not have the pattern of decreasing step size which characterizes the harmonic seventh chord: