CritDeathX

Revision as of 20:17, 12 September 2020 view source Aura (talk \| contribs) autopatrolled, emailconfirmed 6,012 edits No edit summary ← Older edit		Revision as of 20:23, 12 September 2020 view source Aura (talk \| contribs) autopatrolled, emailconfirmed 6,012 edits No edit summary Newer edit →
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	:::::::::::: One thing I know right off the bat in this realm is that the harmonic properties of a 10:12:15 Minor chord are a match for the subharmonic properties of a 4:5:6 Major chord. This is because a 10:12:15 minor chord has the same configuration as a 1/4:1/5:1/6 Antimajor chord- Antimajor being the treble-down counterpart to Major. (preceeding unsigned comment by [[User:Aura\|Aura]] ([[User talk:Aura\|talk]]))		:::::::::::: One thing I know right off the bat in this realm is that the harmonic properties of a 10:12:15 Minor chord are a match for the subharmonic properties of a 4:5:6 Major chord. This is because a 10:12:15 minor chord has the same configuration as a 1/4:1/5:1/6 Antimajor chord- Antimajor being the treble-down counterpart to Major. (preceeding unsigned comment by [[User:Aura\|Aura]] ([[User talk:Aura\|talk]]))

			:::::::::::: In light of this, we need to first find the treble-down counterparts to the sum and difference tones, then work out how they are related to the main tones in a utonal dyad or chord. --[[User:Aura\|Aura]] ([[User talk:Aura\|talk]]) 20:23, 12 September 2020 (UTC)