128:160:192:225: Difference between revisions

From Xenharmonic Wiki
Jump to navigation Jump to search
Fredg999 (talk | contribs)
m Links
7/4 is an A6 in septimal meantone
Line 2: Line 2:
'''128:160:192:225''', an inversion of the {{w|Neapolitan chord|''Neapolitan''}} or {{w|Augmented sixth chord#German sixth|''German sixth''}} chord, is found rooted at the ♭II ({{Frac|16|15}}) and ♭VI ({{Frac|8|5}}) of the [[duodene]].
'''128:160:192:225''', an inversion of the {{w|Neapolitan chord|''Neapolitan''}} or {{w|Augmented sixth chord#German sixth|''German sixth''}} chord, is found rooted at the ♭II ({{Frac|16|15}}) and ♭VI ({{Frac|8|5}}) of 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]], so the chord employing it may be considered a kind of [[dominant seventh chord]].
[[225/128]] is often considered an augmented sixth rather than a minor seventh, and especially in [[septimal meantone]] it is tuned identically to [[7/4]], so that the chord reduces to the much simpler [[4:5:6:7]]. However, chords employing it may still be considered a kind of [[dominant seventh chord]].


[[Category:Dominant seventh chords]]
[[Category:Dominant seventh chords]]

Revision as of 07:55, 13 August 2024

Chord information
Harmonics 128:160:192:225
Subharmonics 1/(225:180:150:128)
Intervals from root 1/1 – 5/4 – 3/2 – 225/128
Cents from root 0¢ 386¢ 702¢ 977¢
Step intervals 5/4, 6/5, 75/64
Step cents 386¢, 316¢, 275¢
Prime limit 5
Genus 32 ⋅ 52 (225)
Intervallic odd limit 225
Otonal odd limit 225
Utonal odd limit 225
Consistent edos (d ≥ 2) 22edo*, 31edo*, 53edo*, 65edo*

128:160:192:225, an inversion of the Neapolitan or German sixth chord, is found rooted at the ♭II (1615) and ♭VI (85) of the duodene.

225/128 is often considered an augmented sixth rather than a minor seventh, and especially in septimal meantone it is tuned identically to 7/4, so that the chord reduces to the much simpler 4:5:6:7. However, chords employing it may still be considered a kind of dominant seventh chord.