4:5:6: Difference between revisions
No edit summary |
Added information about potential usages and the tetrads that can be built off from it Tags: Mobile edit Mobile web edit |
||
| Line 1: | Line 1: | ||
{{Infobox Chord|ColorName=yo or y}} | {{Infobox Chord|ColorName=yo or y}} | ||
'''4:5:6''' is the classical [[major triad]]. It is found on the I ({{Frac|1|1}}), IV ({{Frac|4|3}}), and V ({{Frac|3|2}}) of Ptolemy's intense diatonic scale ([[Zarlino]]), perhaps the most common [[5-limit]] diatonic. | '''4:5:6''' is the classical [[major triad]], and can also be referred to as the '''Ptolemaic major triad'''. It is found on the I ({{Frac|1|1}}), IV ({{Frac|4|3}}), and V ({{Frac|3|2}}) of Ptolemy's intense diatonic scale ([[Zarlino]]), which is perhaps the most common [[5-limit]] diatonic. | ||
However, there are other 5-limit diatonic scales which don't have the Ptolemaic major triad occurring in all the same places. For instance, [[User:Aura|Aura]] is known to us a diatonic scale in which this chord only occurs on the I and V scale degrees while using a Pythagorean major triad (that is, [[64:81:96]]) on the IV. Compared to its Pythagorean counterpart, the Ptolemaic major triad sounds like it's more easily tonicized, a fact which Aura exploits in order to help stabilize Ionian mode in fixed pitch diatonic scales. Because of these properties, the Ptolemaic major triad has earned its status as a bread-and-butter chord in 5-limit harmony. | |||
There are a number of possible tetrads which can be reasonably built off of this triad, such as [[36:45:54:64]] and [[20:25:30:36]] in the 5-limit, as well as [[4:5:6:7]] in the 7-limit and [[32:40:48:55]] in the 11-limit. | |||
[[Category:Major triads|#]] <!-- 1-digit first number --> | [[Category:Major triads|#]] <!-- 1-digit first number --> | ||
{{stub}} | {{stub}} | ||
Revision as of 01:54, 25 October 2025
| Chord information |
4:5:6 is the classical major triad, and can also be referred to as the Ptolemaic major triad. It is found on the I (1⁄1), IV (4⁄3), and V (3⁄2) of Ptolemy's intense diatonic scale (Zarlino), which is perhaps the most common 5-limit diatonic.
However, there are other 5-limit diatonic scales which don't have the Ptolemaic major triad occurring in all the same places. For instance, Aura is known to us a diatonic scale in which this chord only occurs on the I and V scale degrees while using a Pythagorean major triad (that is, 64:81:96) on the IV. Compared to its Pythagorean counterpart, the Ptolemaic major triad sounds like it's more easily tonicized, a fact which Aura exploits in order to help stabilize Ionian mode in fixed pitch diatonic scales. Because of these properties, the Ptolemaic major triad has earned its status as a bread-and-butter chord in 5-limit harmony.
There are a number of possible tetrads which can be reasonably built off of this triad, such as 36:45:54:64 and 20:25:30:36 in the 5-limit, as well as 4:5:6:7 in the 7-limit and 32:40:48:55 in the 11-limit.
|
This page is a stub. You can help the Xenharmonic Wiki by expanding it. |