Chord complexity: Difference between revisions

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 Much of tuning theory involves looking at intervals. However, when intervals are combined into chords, they can sometimes form synergies that aren't immediately apparent if one is only focused on dyads. Fortunately, many of the metrics we use to evaluate intervals generalize very easily to larger chords, and we will look at some in this article.
-Note: the terms dyad, triad, tetrad, etc. usually refer to chord with 2, 3, or 4 [[Pitch class|pitch classes]]. But in this discussion they refer to chords with 2, 3, or 4 <u>pitches</u>. Thus {{dash|C, E, G, C|med}} is a tetrad and not a triad.
+The terms dyad, triad, tetrad, etc are used here to refer to any collection of 2, 3, or 4 pitches, without any notion of octave equivalence and with doubling allowed. Thus we will refer to, for instance, 4:5:6:8 as a tetrad even though the "4" and the "8" are the same pitch class. We will also sometimes refer to the special dyad 1:1, triad 1:1:1, tetrad 1:1:1:1, and so on, even though only one pitch is used.
 = Basics =