128:160:192:225: Difference between revisions
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In the second paragraph, emphasize the connections between this chord and meantone dominant sevenths, to explain its inclusion in the Dominant seventh chords category. |
Remove reference to Neapolitan chord (turns out the Neapolitan chord is a triad, not a tetrad); omit needless words. |
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{{Infobox Chord|Name= | {{Infobox Chord|Name=5-limit German sixth}} | ||
'''128:160:192:225''', a [[5-limit]] | '''128:160:192:225''', a [[5-limit]] {{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 usually considered an augmented sixth rather than a minor seventh; however, it is often tempered in a way that makes this chord indistinguishable from certain kinds of [[dominant seventh chord]]. For example, in [[septimal meantone]] it is tuned identically to the much simpler harmonic seventh chord [[4:5:6:7]], and in meantone tunings that also temper out the [[Pythagorean comma]] (such as [[12edo]] and its multiples) it is tuned identically to [[36:45:54:64]] and [[20:25:30:36]]. | [[225/128]] is usually considered an augmented sixth rather than a minor seventh; however, it is often tempered in a way that makes this chord indistinguishable from certain kinds of [[dominant seventh chord]]. For example, in [[septimal meantone]] it is tuned identically to the much simpler harmonic seventh chord [[4:5:6:7]], and in meantone tunings that also temper out the [[Pythagorean comma]] (such as [[12edo]] and its multiples) it is tuned identically to [[36:45:54:64]] and [[20:25:30:36]]. | ||
[[Category:Dominant seventh chords]] | [[Category:Dominant seventh chords]] | ||
Revision as of 00:29, 15 August 2024
| Chord information |
128:160:192:225, a 5-limit German sixth chord, is found rooted at the ♭II (16⁄15) and ♭VI (8⁄5) of the duodene.
225/128 is usually considered an augmented sixth rather than a minor seventh; however, it is often tempered in a way that makes this chord indistinguishable from certain kinds of dominant seventh chord. For example, in septimal meantone it is tuned identically to the much simpler harmonic seventh chord 4:5:6:7, and in meantone tunings that also temper out the Pythagorean comma (such as 12edo and its multiples) it is tuned identically to 36:45:54:64 and 20:25:30:36.