Dominant seventh chord: Difference between revisions
→In JI: Rephrased to emphasize why 225/128 may be considered a seventh. Tags: Mobile edit Mobile web edit |
m add interval links in meantone section; typeset meantone chord intervals with spaces for legibility |
||
| Line 8: | Line 8: | ||
In [[meantone]] (including [[12edo]]), on which traditional tonal harmony is built, the dominant seventh chord is a [[9-odd-limit]] [[essentially tempered chord]]: | In [[meantone]] (including [[12edo]]), on which traditional tonal harmony is built, the dominant seventh chord is a [[9-odd-limit]] [[essentially tempered chord]]: | ||
* (Meantone) 1 | * (Meantone) 1/1 ‒ [[5/4]] ‒ [[3/2]] ‒ [[9/5]] with steps 5/4, 6/5, 6/5. | ||
Note the ~9/5 is simultaneously ~16/9, and the interval between the third and seventh is ~10/7. Therefore, every interval of this chord is within the 9-odd-limit tonality diamond. | Note the ~9/5 is simultaneously ~[[16/9]], and the interval between the third and seventh is ~[[10/7]]. Therefore, every interval of this chord is within the 9-odd-limit tonality diamond. | ||
== In JI == | == In JI == | ||