Talk:70:90:105:126: Difference between revisions

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::::: --[[User:TallKite|TallKite]] ([[User talk:TallKite|talk]]) 21:42, 31 March 2026 (UTC)

:::::: So if you mean 1/(24:20:16:14:11:9) and 1/(11:9:7:6:5:4), then no, I strongly disagree. 1/(24:20:16:14:11:9) is a much more consonant voicing cuz it's more regularly tertian and more notes are on the consonant categories, like the minor third, the perfect fifth, even the semidiminished ninth and the perfect eleventh. The perfect fifth above the bass is especially significant here, as it suits itself much better to traditional chord naming systems. I mean, if you don't mind me using a similar logic as yours, surely we can agree that 6/5, 3/2, 12/7, 24/11, and 8/3 sound better than 11/9, 11/7, 11/6, 11/5, and 11/4, on average?

:::::: From there, 1/(24:20:16:14:9) and 1/(24:20:16:14:11) are one-note omissions of 1/(24:20:16:14:11:9), which makes them likewise notable. But anyway, I call these chords sixth-eleventh, sixth added-eleventh, and sixth-ninth chords, so there's no conflict in names. The only special case is 1/(9:7:6:5:4), for which I think we can agree this could be the subharmonic ninth chord, but that again points to 1/(9:7:6:5) as the subharmonic seventh chord, cuz what's the ninth being added to?

:::::: Also, inflecting the third and sixth by 36/35 turns the subharmonic sixth chord into the harmonic sixth chord. Since we're using 36/35 to flip the o/utonality without changing the intervals' degrees or qualities, all we need to do in the names is to flip the harmonic/subharmonic part. It follows that inflecting the third and seventh by the same interval should similarly turn the harmonic seventh chord into the subharmonic seventh chord. This bond is so simple and clear. I don't see why you ignored it in your nomenclature.

:::::: —[[User:FloraC|FloraC]] ([[User talk:FloraC|talk]]) 08:17, 1 April 2026 (UTC)

@@ Line 36: / Line 36: @@
 ::::: --[[User:TallKite|TallKite]] ([[User talk:TallKite|talk]]) 21:42, 31 March 2026 (UTC)
+:::::: So if you mean 1/(24:20:16:14:11:9) and 1/(11:9:7:6:5:4), then no, I strongly disagree. 1/(24:20:16:14:11:9) is a much more consonant voicing cuz it's more regularly tertian and more notes are on the consonant categories, like the minor third, the perfect fifth, even the semidiminished ninth and the perfect eleventh. The perfect fifth above the bass is especially significant here, as it suits itself much better to traditional chord naming systems. I mean, if you don't mind me using a similar logic as yours, surely we can agree that 6/5, 3/2, 12/7, 24/11, and 8/3 sound better than 11/9, 11/7, 11/6, 11/5, and 11/4, on average?
+:::::: From there, 1/(24:20:16:14:9) and 1/(24:20:16:14:11) are one-note omissions of 1/(24:20:16:14:11:9), which makes them likewise notable. But anyway, I call these chords sixth-eleventh, sixth added-eleventh, and sixth-ninth chords, so there's no conflict in names. The only special case is 1/(9:7:6:5:4), for which I think we can agree this could be the subharmonic ninth chord, but that again points to 1/(9:7:6:5) as the subharmonic seventh chord, cuz what's the ninth being added to?
+:::::: Also, inflecting the third and sixth by 36/35 turns the subharmonic sixth chord into the harmonic sixth chord. Since we're using 36/35 to flip the o/utonality without changing the intervals' degrees or qualities, all we need to do in the names is to flip the harmonic/subharmonic part. It follows that inflecting the third and seventh by the same interval should similarly turn the harmonic seventh chord into the subharmonic seventh chord. This bond is so simple and clear. I don't see why you ignored it in your nomenclature.
+:::::: —[[User:FloraC|FloraC]] ([[User talk:FloraC|talk]]) 08:17, 1 April 2026 (UTC)