28:36:42:49: Difference between revisions

Line 1:

'''28:36:42:49''' is a septimal [[dominant seventh chord]]. This chord is similar to the harmonic seventh chord [[4:5:6:7]], except the major third is inflected up by [[36/35]] from [[5/4]] to [[9/7]]. This makes it stand out as a dissonance from the rest of the chord. This is in contrast to the [[5-limit]] [[20:25:30:36]] dominant seventh chord, which has the seventh inflected up by 36/35 from [[7/4]] to [[9/5]] compared to 4:5:6:7~~. This chord occurs on the V of the [[5L 2s|diatonic]] scale in [[superpyth]] temperament~~.

'''28:36:42:49''' is a septimal [[dominant seventh chord]]. This chord is similar to the harmonic seventh chord [[4:5:6:7]], except the major third is inflected up by [[36/35]] from [[5/4]] to [[9/7]]. This makes it stand out as a dissonance from the rest of the chord. This is in contrast to the [[5-limit]] [[20:25:30:36]] dominant seventh chord, which has the seventh inflected up by 36/35 from [[7/4]] to [[9/5]] compared to 4:5:6:7.

On the dominant, this chord is [[3/2]]–[[27/14]]–[[9/4]]–[[21/8]] above the tonic, which is [[octave equivalence|octave-equivalent]] to [[27/28]]–[[9/8]]–[[21/16]]~~–[[3~~/2]]. This chord resolves to [[4:5:6]] on the tonic by inflecting the 27/28 up by [[28/27]], and the 21/16 down by [[21/20]]. 28/27 is often considered a better interval for voice leading than [[16/15]], due to its size of 62.96 [[cent]]s, which is much closer to the optimum of around 70 cents than 16/15, which is 111.73 cents.

This chord occurs on the V of the [[5L 2s|diatonic]] scale in [[superpyth]] temperament. The [[tritone]] represents [[15/11]] in undecimal superpyth however, which reduces it to a [[15-odd-limit]] [[swetismic chords|swetismic]] [[essentially tempered chord]].

On the dominant, this chord is [[3/2]]–[[27/14]]–[[9/4]]–[[21/8]] above the tonic, which is [[octave equivalence|octave-equivalent]] to [[28/27|27/28]]–[[9/8]]–[[21/16]]–3/2. This chord resolves to [[4:5:6]] on the tonic by inflecting the 27/28 up by [[28/27]], and the 21/16 down by [[21/20]]. 28/27 is often considered a better interval for voice leading than [[16/15]], due to its size of 62.96 [[cent]]s, which is much closer to the optimum of around 70 cents than 16/15, which is 111.73 cents.

@@ Line 1: / Line 1: @@
 {{Infobox chord|ColorName = rz7 or ru-zo7}}
-'''28:36:42:49''' is a septimal [[dominant seventh chord]]. This chord is similar to the harmonic seventh chord [[4:5:6:7]], except the major third is inflected up by [[36/35]] from [[5/4]] to [[9/7]]. This makes it stand out as a dissonance from the rest of the chord. This is in contrast to the [[5-limit]] [[20:25:30:36]] dominant seventh chord, which has the seventh inflected up by 36/35 from [[7/4]] to [[9/5]] compared to 4:5:6:7. This chord occurs on the V of the [[5L 2s|diatonic]] scale in [[superpyth]] temperament.
+'''28:36:42:49''' is a septimal [[dominant seventh chord]]. This chord is similar to the harmonic seventh chord [[4:5:6:7]], except the major third is inflected up by [[36/35]] from [[5/4]] to [[9/7]]. This makes it stand out as a dissonance from the rest of the chord. This is in contrast to the [[5-limit]] [[20:25:30:36]] dominant seventh chord, which has the seventh inflected up by 36/35 from [[7/4]] to [[9/5]] compared to 4:5:6:7.
-On the dominant, this chord is [[3/2]]–[[27/14]]–[[9/4]]–[[21/8]] above the tonic, which is [[octave equivalence|octave-equivalent]] to [[27/28]]–[[9/8]]–[[21/16]]–[[3/2]]. This chord resolves to [[4:5:6]] on the tonic by inflecting the 27/28 up by [[28/27]], and the 21/16 down by [[21/20]]. 28/27 is often considered a better interval for voice leading than [[16/15]], due to its size of 62.96 [[cent]]s, which is much closer to the optimum of around 70 cents than 16/15, which is 111.73 cents.
+This chord occurs on the V of the [[5L 2s|diatonic]] scale in [[superpyth]] temperament. The [[tritone]] represents [[15/11]] in undecimal superpyth however, which reduces it to a [[15-odd-limit]] [[swetismic chords|swetismic]] [[essentially tempered chord]].
+On the dominant, this chord is [[3/2]]–[[27/14]]–[[9/4]]–[[21/8]] above the tonic, which is [[octave equivalence|octave-equivalent]] to [[28/27|27/28]]–[[9/8]]–[[21/16]]–3/2. This chord resolves to [[4:5:6]] on the tonic by inflecting the 27/28 up by [[28/27]], and the 21/16 down by [[21/20]]. 28/27 is often considered a better interval for voice leading than [[16/15]], due to its size of 62.96 [[cent]]s, which is much closer to the optimum of around 70 cents than 16/15, which is 111.73 cents.