Dominant seventh chord: Difference between revisions
Emphasize the relationship between :225 and dominant seventh chords, rather than its differences. |
clarify conventional 5-limit meantone vs. septimal interpretation |
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{{See also| Didymic chords }} | {{See also| Didymic chords }} | ||
In [[meantone]] (including [[12edo]]), on which traditional tonal harmony is built, the dominant seventh chord | In [[meantone]] (including [[12edo]]), on which traditional tonal harmony is built, the dominant seventh chord has an [[intervallic odd limit]] of 25: | ||
* (Meantone) 1/1 ‒ [[5/4]] ‒ [[3/2]] ‒ [[9/5]] with steps 5/4, 6/5, 6/5. | * (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 | Note the ~9/5 is simultaneously ~[[16/9]], and the interval between the ~5/4 and ~9/5 is ~[[36/25]]. | ||
However, in [[septimal meantone]], which is well-represented by the historically prevalent [[quarter-comma meantone]], that ~[[36/25]] is tempered to ~[[10/7]], making the chord an [[essentially tempered chord]] in the [[9-odd-limit]]. | |||
== In just intonation == | == In just intonation == | ||