Dominant seventh chord: Difference between revisions

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* [[108:135:160:192]] (1⁄1–5⁄4–[[40/27|40⁄27]]–[[16/9|16⁄9]]) is found on the dominant scale degree (V) if the second degree of the diatonic scale is tuned a comma lower than in Zarlino (10⁄9 instead of 9⁄8), such as in left-handed [[nicetone]].

* [[128:160:192:225]] (1⁄1–5⁄4–3⁄2–[[225/128|225⁄128]]), the Neapolitan[https://en.wikipedia.org/wiki/Neapolitan_chord] or German sixth[https://en.wikipedia.org/wiki/Augmented_sixth_chord#German_sixth] chord, is found rooted at [[16/15|16⁄15]] (♭II) and [[8/5|8⁄5]] (♭VI) in the [[duodene]]. (Although 225⁄128 is often considered an augmented sixth rather than a minor seventh, in [[Meantone_family#Septimal_meantone|septimal meantone]] it is tuned identically to the [[7/4|harmonic seventh]].)

* [[128:160:192:225]] (1⁄1–5⁄4–3⁄2–[[225/128|225⁄128]]), an inversion of the Neapolitan[https://en.wikipedia.org/wiki/Neapolitan_chord] or German sixth[https://en.wikipedia.org/wiki/Augmented_sixth_chord#German_sixth] chord, is found rooted at [[16/15|16⁄15]] (♭II) and [[8/5|8⁄5]] (♭VI) in the [[duodene]]. (Although 225⁄128 is often considered an augmented sixth rather than a minor seventh, in [[Meantone_family#Septimal_meantone|septimal meantone]] it is tuned identically to the [[7/4|harmonic seventh]].)

In the [[7-limit]]:

* 4:5:6:7 (1⁄1–5⁄4–3⁄2–7⁄4), the [[harmonic seventh chord]], is a [[consonant]] chord in the 7-limit, often used as a tuning target in barbershop music[https://en.wikipedia.org/wiki/Harmonic_seventh_chord#Barbershop_seventh].

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 * [[108:135:160:192]] (1⁄1–5⁄4–[[40/27|40⁄27]]–[[16/9|16⁄9]]) is found on the dominant scale degree (V) if the second degree of the diatonic scale is tuned a comma lower than in Zarlino (10⁄9 instead of 9⁄8), such as in left-handed [[nicetone]].
-* [[128:160:192:225]] (1⁄1–5⁄4–3⁄2–[[225/128|225⁄128]]), the Neapolitan[https://en.wikipedia.org/wiki/Neapolitan_chord] or German sixth[https://en.wikipedia.org/wiki/Augmented_sixth_chord#German_sixth] chord, is found rooted at [[16/15|16⁄15]] (♭II) and [[8/5|8⁄5]] (♭VI) in the [[duodene]]. (Although 225⁄128 is often considered an augmented sixth rather than a minor seventh, in [[Meantone_family#Septimal_meantone|septimal meantone]] it is tuned identically to the [[7/4|harmonic seventh]].)
+* [[128:160:192:225]] (1⁄1–5⁄4–3⁄2–[[225/128|225⁄128]]), an inversion of the Neapolitan[https://en.wikipedia.org/wiki/Neapolitan_chord] or German sixth[https://en.wikipedia.org/wiki/Augmented_sixth_chord#German_sixth] chord, is found rooted at [[16/15|16⁄15]] (♭II) and [[8/5|8⁄5]] (♭VI) in the [[duodene]]. (Although 225⁄128 is often considered an augmented sixth rather than a minor seventh, in [[Meantone_family#Septimal_meantone|septimal meantone]] it is tuned identically to the [[7/4|harmonic seventh]].)
 In the [[7-limit]]:
 * 4:5:6:7 (1⁄1–5⁄4–3⁄2–7⁄4), the [[harmonic seventh chord]], is a [[consonant]] chord in the 7-limit, often used as a tuning target in barbershop music[https://en.wikipedia.org/wiki/Harmonic_seventh_chord#Barbershop_seventh].