Dominant seventh chord: Difference between revisions
→In JI: internalize Wikipedia links. Distinguish concordance and consonance (it's not consonant if it's built on the fifth degree) |
→In JI: 7/4 is an A6 in septimal meantone, and the normal interpretation of the augmented sixth chord is simiply 4:5:6:7 |
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* [[108:135:160:192]] is found on the dominant scale degree (V or {{Frac|3|2}}) of a diatonic scale with the second degree tuned a comma lower than in Zarlino ([[10/9]] instead of [[9/8]]), such as in left-handed [[nicetone]]. | * [[108:135:160:192]] is found on the dominant scale degree (V or {{Frac|3|2}}) of a diatonic scale with the second degree tuned a comma lower than in Zarlino ([[10/9]] instead of [[9/8]]), such as in left-handed [[nicetone]]. | ||
* [[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]], a 5-limit interperation of 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]]. ([[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]].) | ||
In the [[7-limit]]: | In the [[7-limit]]: | ||