Didymic chords: Difference between revisions
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→Septimal meantone chords: improve readability. Note the dominant seventh chord doesn't really require septimal meantone. Review the rest and leave only those that require septimal meantone |
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Both chords are palindromic. | Both chords are palindromic. | ||
== | == Dominant seventh chord == | ||
In septimal meantone, the [[dominant seventh chord]] is an essentially tempered chord: | |||
* | * 1–5/4–3/2–9/5 with steps 5/4, 6/5, 6/5, 9/8. | ||
Built on G, it is | Built on G, it is G–B–D–F. Note that septimal meantone is not required to make it a 9-odd-limit concord. Either [[starling]] or [[marvel]] can be used, depending on what interval the top note is interpreted as, though both are required for it to represent 16/9~9/5. | ||
Its inversion is the half-diminished chord: | Its inversion is the half-diminished chord: | ||
* | * 1–6/5–10/7–9/5 with steps 6/5, 6/5, 5/4, 9/8. | ||
Built on B, it is | Built on B, it is B–D–F–A. | ||
== Septimal meantone chords == | |||
Since [[81/80]] is tempered out, didymic chords are septimal meantone chords. Since [[126/125]] is tempered out, [[starling chords]] are septimal meantone chords. Since [[225/224]] is tempered out, [[marvel chords]] are septimal meantone chords. There are also septimal meantone chords which are none of these, the essentially '''septimal meantone chords'''. | |||
The basic form of these chords are pentads, with a unique palindromic chord and a pair of chords in inverse relationship: | |||
* | * 1–9/8–5/4–7/5–14/9 with steps of 9/8, 9/8, 9/8, 9/8, 9/7; | ||
* 1–9/8–5/4–14/9–7/4 with steps of 9/8, 9/8, 5/4, 9/8, 8/7, and its inverse | |||
* | * 1–9/8–7/5–14/9–7/4 with steps of 9/8, 5/4, 9/8, 9/8, 8/7. | ||
* | |||
Finally, there | Finally, there is a palindromic hexad, | ||
* | * 1–9/8–5/4–7/5–14/9–7/4 with steps of 9/8, 9/8, 9/8, 9/8, 9/8, 8/7. | ||
== External links == | == External links == | ||