4:5:6:7: Difference between revisions
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This is the meantone augmented sixth chord |
-"consonant" (not necessarily, depending on the position). +the unreduced counterparts |
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{{Infobox Chord|4:5:6:7|Name=harmonic seventh, barbershop seventh}} | {{Infobox Chord|4:5:6:7|Name=harmonic seventh, barbershop seventh}} | ||
{{Wikipedia|Harmonic seventh chord}} | {{Wikipedia|Harmonic seventh chord}} | ||
'''4:5:6:7''', the ''harmonic seventh chord'', is a | '''4:5:6:7''', the ''harmonic seventh chord'', is a [[tetrad]] in [[7-limit]] harmony. It is often used as a tuning target for the [[dominant seventh chord]] in barbershop music (→ [[Wikipedia: Harmonic seventh chord #Barbershop seventh ]]), and also for the German sixth chord in [[septimal meantone]]. | ||
It is a [[dyadic chord]] in the [[odd limit|7-odd limit]], with its most complex interval a [[7/5]] tritone. | It is a [[dyadic chord]] in the [[odd limit|7-odd limit]], with its most complex interval a [[7/5]] tritone. It is the [[octave reduction|octave-reduced]] version of the first four odd harmonics, 1:3:5:7, or the first eight harmonics, 1::8. | ||
[[Category:Dominant seventh chords]] | [[Category:Dominant seventh chords]] | ||
Revision as of 10:59, 16 August 2024
| Chord information |
4:5:6:7, the harmonic seventh chord, is a tetrad in 7-limit harmony. It is often used as a tuning target for the dominant seventh chord in barbershop music (→ Wikipedia: Harmonic seventh chord #Barbershop seventh ), and also for the German sixth chord in septimal meantone.
It is a dyadic chord in the 7-odd limit, with its most complex interval a 7/5 tritone. It is the octave-reduced version of the first four odd harmonics, 1:3:5:7, or the first eight harmonics, 1::8.