Talk:4:5:6: Difference between revisions
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:: Saying that [3:4:5 -> 4:5:6] "the fourth above the root contrasts and therefore wants to move to the missing major third" is a stylistic choice. Just as saying that [3:4:5 -> 2:3:4] "the fourth wants to move to the missing fifth and the sixth rises up to the octave for pure consonance". | :: Saying that [3:4:5 -> 4:5:6] "the fourth above the root contrasts and therefore wants to move to the missing major third" is a stylistic choice. Just as saying that [3:4:5 -> 2:3:4] "the fourth wants to move to the missing fifth and the sixth rises up to the octave for pure consonance". | ||
:: Apart from that, I wonder what your thoughts are for the voicings. I included voicings in the chord articles for completeness and to not obviate compound intervals. After all, 4:5:6 is not the same as 2:3:5 or | :: Apart from that, I wonder what your thoughts are for the voicings. I included voicings in the chord articles for completeness and to not obviate compound intervals. After all, 4:5:6 is not the same as 2:3:5 or 2:5:12, even if they are all On 1. | ||
:: [[User:Eufalesio|Eufalesio]] ([[User talk:Eufalesio|talk]]) 15:54, 11 November 2025 (UTC) | |||