User:Aura/Aura's introduction to 159edo: Difference between revisions
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As a consequence of this particular scale structure, you have the following chords... | As a consequence of this particular scale structure, you have the following chords- note that this list is not exhaustive... | ||
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| VII | | VII | ||
| 45:54:64:81 | | 45:54:64:81 | ||
| This dissonant | | This dissonant tetrad is an unexpected option for imperfect half cadences in the 5-limit | ||
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| Pythagorean Suspended Fourth with Ptolemaic Major Seventh | | Pythagorean Suspended Fourth with Ptolemaic Major Seventh | ||
| Line 1,588: | Line 1,588: | ||
| I | | I | ||
| 24:32:36:45 | | 24:32:36:45 | ||
| | | This dissonant tetrad is a great option for suspensions at minimum | ||
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| Pythagorean Dominant Seventh Suspended Fourth | | Pythagorean Dominant Seventh Suspended Fourth | ||
| Line 1,597: | Line 1,597: | ||
| This version of a dominant seventh chord occurs on multiple scale degrees, enabling a form of secondary dominant progression | | This version of a dominant seventh chord occurs on multiple scale degrees, enabling a form of secondary dominant progression | ||
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| | | Ptolemaic Minor Seventh Suspended Synsharp Fourth | ||
| | | D, G↑, A, C↑ | ||
| | | 0, 69, 93, 135 | ||
| | | III | ||
| | | 20:27:30:36 | ||
| | | This dissonant tetrad is an uncommon suspension in 5-limit diatonic music | ||
|- | |- | ||
| | | Ptolemaic Major Seventh Suspended Sharp Fourth | ||
| | | D, G#↓, A, C#↓ | ||
| | | 0, 78, 93, 144 | ||
| | | IV | ||
| | | 32:45:48, 60 | ||
| | | This dissonant tetrad is an interesting suspension in 5-limit diatonic music, commonly used in modulations | ||
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