70:84:105:120: Difference between revisions
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Add reference to my essay since I got there first, tho *subharmonic* does make more sense than *harmonic* |
Added more description and moved see also section to bottom |
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{{Infobox Chord|70:84:105:120|ColorName=gu ru-6 or g,r6, sub-6 or s6}} | {{Infobox Chord|70:84:105:120|ColorName=gu ru-6 or g,r6, sub-6 or s6}} | ||
'''70:84:105:120''', the ''subharmonic sixth chord''<ref>[[Flora Canou]]. [[User:FloraC/Analysis on the 13-limit just intonation space: episode ii #Chapter II. Generic Rooted Chord Construction|"Chapter II. Generic Rooted Chord Construction", ''Analysis on the 13-limit Just Intonation Space: Episode II'']]. </ref>, is a [[tetrad]] in [[7-limit]] harmony. It is the inverse of 4:5:6:7, the [[harmonic seventh chord]]. | '''70:84:105:120''', the ''subharmonic sixth chord''<ref>[[Flora Canou]]. [[User:FloraC/Analysis on the 13-limit just intonation space: episode ii #Chapter II. Generic Rooted Chord Construction|"Chapter II. Generic Rooted Chord Construction", ''Analysis on the 13-limit Just Intonation Space: Episode II'']]. </ref>, is a [[tetrad]] in [[7-limit]] harmony. It is the inverse of 4:5:6:7, the [[harmonic seventh chord]]. It can be considered the minor version of 4:5:6:7, and serves as the fundamental [[utonal]] consonance of the [[7-odd-limit]]. On C, it can be notated as Cm(S6), where m is minor and S is supermajor. | ||
The 4:5:6:7 chord may be modified to obtain this chord by flattening the [[5/4]] by [[25/24]] and the [[7/4]] by [[49/48]]. The intervals [[25/24]] and [[49/48]] thus serve as chromas, and they are equated when [[50/49]] is tempered out, such as in [[pajara]]. Alternatively two 49/48's can be equated to 25/24 by tempering out [[2401/2400]], which is far more accurate, and is done in [[miracle]] among other things. | |||
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== References == | == References == | ||
<references/> | <references/> | ||
== See also == | |||
* Its [[Chord homonym|homonym]] [[60:70:84:105]] (a ''minor 7th flat-5th chord'' or ''half-diminished chord''). | |||
Revision as of 17:48, 10 November 2025
| Chord information |
sub-6 or s6
70:84:105:120, the subharmonic sixth chord[1], is a tetrad in 7-limit harmony. It is the inverse of 4:5:6:7, the harmonic seventh chord. It can be considered the minor version of 4:5:6:7, and serves as the fundamental utonal consonance of the 7-odd-limit. On C, it can be notated as Cm(S6), where m is minor and S is supermajor.
The 4:5:6:7 chord may be modified to obtain this chord by flattening the 5/4 by 25/24 and the 7/4 by 49/48. The intervals 25/24 and 49/48 thus serve as chromas, and they are equated when 50/49 is tempered out, such as in pajara. Alternatively two 49/48's can be equated to 25/24 by tempering out 2401/2400, which is far more accurate, and is done in miracle among other things.
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Todo: add sound example |
References
See also
- Its homonym 60:70:84:105 (a minor 7th flat-5th chord or half-diminished chord).