7/4: Difference between revisions
Wikispaces>xenwolf **Imported revision 231979544 - Original comment: some links to other JIs added** |
Wikispaces>xenwolf **Imported revision 231979670 - Original comment: sorry, I failed the right position ;)** |
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<h2>IMPORTED REVISION FROM WIKISPACES</h2> | <h2>IMPORTED REVISION FROM WIKISPACES</h2> | ||
This is an imported revision from Wikispaces. The revision metadata is included below for reference:<br> | This is an imported revision from Wikispaces. The revision metadata is included below for reference:<br> | ||
: This revision was by author [[User:xenwolf|xenwolf]] and made on <tt>2011-05-26 02: | : This revision was by author [[User:xenwolf|xenwolf]] and made on <tt>2011-05-26 02:57:04 UTC</tt>.<br> | ||
: The original revision id was <tt> | : The original revision id was <tt>231979670</tt>.<br> | ||
: The revision comment was: <tt> | : The revision comment was: <tt>sorry, I failed the right position ;)</tt><br> | ||
The revision contents are below, presented both in the original Wikispaces Wikitext format, and in HTML exactly as Wikispaces rendered it.<br> | The revision contents are below, presented both in the original Wikispaces Wikitext format, and in HTML exactly as Wikispaces rendered it.<br> | ||
<h4>Original Wikitext content:</h4> | <h4>Original Wikitext content:</h4> | ||
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7:4 appears in an otonal tetrad that forms the basis of much JI music, commonly called a "harmonic seventh chord." It consists of a major triad (4:5:6) plus a harmonic seventh: 4:5:6:7(:8). This tetrad, a hallmark of blues and barbershop harmony, not to mention modern Just Intonation practice, represents a sequence of overtones from the fourth to the seventh. (8, being a doubling of 4, represents an octave above the root.) The intervals between adjacent members of the chord decrease in size: | 7:4 appears in an otonal tetrad that forms the basis of much JI music, commonly called a "harmonic seventh chord." It consists of a major triad (4:5:6) plus a harmonic seventh: 4:5:6:7(:8). This tetrad, a hallmark of blues and barbershop harmony, not to mention modern Just Intonation practice, represents a sequence of overtones from the fourth to the seventh. (8, being a doubling of 4, represents an octave above the root.) The intervals between adjacent members of the chord decrease in size: | ||
[[5_4|5 | [[5_4|5/4]] - approx. 386 cents - a major third | ||
[[6_5|6 | [[6_5|6/5]] - approx. 316 cents - a minor third | ||
[[7_6|7 | [[7_6|7/6]] - approx. 267 cents - a septimal subminor third | ||
[[8_7|8 | [[8_7|8/7]] - approx. 231 cents - a septimal supermajor second | ||
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. | 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. | ||
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7:4 appears in an otonal tetrad that forms the basis of much JI music, commonly called a &quot;harmonic seventh chord.&quot; It consists of a major triad (4:5:6) plus a harmonic seventh: 4:5:6:7(:8). This tetrad, a hallmark of blues and barbershop harmony, not to mention modern Just Intonation practice, represents a sequence of overtones from the fourth to the seventh. (8, being a doubling of 4, represents an octave above the root.) The intervals between adjacent members of the chord decrease in size:<br /> | 7:4 appears in an otonal tetrad that forms the basis of much JI music, commonly called a &quot;harmonic seventh chord.&quot; It consists of a major triad (4:5:6) plus a harmonic seventh: 4:5:6:7(:8). This tetrad, a hallmark of blues and barbershop harmony, not to mention modern Just Intonation practice, represents a sequence of overtones from the fourth to the seventh. (8, being a doubling of 4, represents an octave above the root.) The intervals between adjacent members of the chord decrease in size:<br /> | ||
<br /> | <br /> | ||
<a class="wiki_link" href="/5_4">5 | <a class="wiki_link" href="/5_4">5/4</a> - approx. 386 cents - a major third<br /> | ||
<a class="wiki_link" href="/6_5">6 | <a class="wiki_link" href="/6_5">6/5</a> - approx. 316 cents - a minor third<br /> | ||
<a class="wiki_link" href="/7_6">7 | <a class="wiki_link" href="/7_6">7/6</a> - approx. 267 cents - a septimal subminor third<br /> | ||
<a class="wiki_link" href="/8_7">8 | <a class="wiki_link" href="/8_7">8/7</a> - approx. 231 cents - a septimal supermajor second<br /> | ||
<br /> | <br /> | ||
This chord is similar to the &quot;dominant seventh chord&quot; 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 &quot;dominant seventh chord&quot; of 12edo is treated as a dissonance that needs to resolve (usually in the chord pattern V7 to I), the &quot;harmonic seventh chord&quot; has a much different flavor and is often treated by composers in Just Intonation as a consonance.<br /> | This chord is similar to the &quot;dominant seventh chord&quot; 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 &quot;dominant seventh chord&quot; of 12edo is treated as a dissonance that needs to resolve (usually in the chord pattern V7 to I), the &quot;harmonic seventh chord&quot; has a much different flavor and is often treated by composers in Just Intonation as a consonance.<br /> | ||