7/4: Difference between revisions
CompactStar (talk | contribs) No edit summary |
CompactStar (talk | contribs) No edit summary |
||
| Line 17: | Line 17: | ||
== Harmonic seventh chord == | == Harmonic seventh chord == | ||
7:4 appears in an otonal tetrad that forms the basis of much JI music, commonly called a "harmonic seventh chord". It consists of a major triad (4:5:6) plus a harmonic seventh: 4:5:6:7(:8). This tetrad, a hallmark of blues and barbershop harmony, not to mention modern Just Intonation practice, represents a sequence of overtones from the fourth to the seventh. (8, being a doubling of 4, represents an octave above the root.) The intervals between adjacent members of the chord decrease in size: | 7:4 appears in an otonal tetrad that forms the basis of much JI music, commonly called a "harmonic seventh chord". It consists of a ptolemaic major triad (4:5:6) plus a harmonic seventh: 4:5:6:7(:8). This tetrad, a hallmark of blues and barbershop harmony, not to mention modern Just Intonation practice, represents a sequence of overtones from the fourth to the seventh. (8, being a doubling of 4, represents an octave above the root.) The intervals between adjacent members of the chord decrease in size: | ||
{| class="wikitable" | {| class="wikitable" | ||