4:6:7: Difference between revisions
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Open voicing shouldn't change its bass note |
→Related chords: added more |
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| Line 12: | Line 12: | ||
* 6:7:8 – first rotation | * 6:7:8 – first rotation | ||
* 3:4:7 – first rotation, open voicing | * 3:4:7 – first rotation, open voicing | ||
* [[12:14:21]] - melodic inversion | |||
* [[4:5:7]] – no threes version | * [[4:5:7]] – no threes version | ||
* [[4:5:6:7]] – full tetrad | * [[4:5:6:7]] – full tetrad | ||
* [[12:14:18:21]] - adds [[7/6]] | |||
Revision as of 00:33, 22 November 2025
| Chord information |
har-7 no-5 or h7no5
4:6:7 is a 7-limit chord found as a subset of the harmonic seventh chord, 4:5:6:7. Due to having no fives, it is the first otonal chord that deviates from tonal music theory. As such, it is a candidate for metallic harmony, a form of extraclassical tonality that employs 7 instead of 5 as its other prime.
Rotations around the octave
Related chords
Chords related to this triad:
- 4:7:12 – open voicing
- 6:7:8 – first rotation
- 3:4:7 – first rotation, open voicing
- 12:14:21 - melodic inversion
- 4:5:7 – no threes version
- 4:5:6:7 – full tetrad
- 12:14:18:21 - adds 7/6