Septimal Harmony Use

  1. I'm sure you know of my latest analysis essay, but did you notice it contains two dedicated sections for septimal harmony? Specifically, the Chapter VII is for your question.

  2. As of late, I think there are a few considerations missing regarding the 11th harmonic. In other posts, I've alluded to something called the "Dinner Party Rules", which were first brought up here...

  3. If you're not being sarcastic, what sorts of chords are we talking? I know I'm after chords that use a single factor of seven in the ratio of one of the intervals...

  4. Try jazz chord progressions and alter some intervals by 49/48, 36/35 (and 81/80 and 64/63 for 9-odd limit). Traditional functional harmony analysis (roman numerals/scale degree theory) won't work well especially since there are two equally good mappings for 7th harmonic in 7 edo (7/4 can be a type of seventh or sixth, but not both).

  5. In a neomedieval European style, sonorities like 1/1-7/6-3/2-7/4 (12:14:18:21) are at once smooth and suave, and very efficiently resolve to stable intervals by stepwise contrary motion with melodic steps, for example, around 9:8 and 28:27. I typically use tunings with near-just representations of primes 2-3-7-11-13, where 7:9:11:13 and 16:21:24:28 are examples of new sonorities which also resolve efficiently and compellingly to stable intervals or sonorities (2:3:4, 4:3:2, or simple fifths and fourths). Anyone familiar with 14th-century European cadences may understand what I am describing for 12:14:18:21, but a JI notation for a typical four-voice resolution may help:

  6. Yes, I can give more details on 14th- century European cadences. But I’m not sure why my example got deformatted into four separate rather than vertically aligned lines. Anyone who can fix this or explain to me how not to have line breaks deleted, thank you!

  7. Others here may disagree, but I myself find this to be particularly useful given that I do indeed intend to draw in part from Medieval Music's Florid Organum in my own style of composition- I mean, I already have an active distinction between 81/64 and 5/4 with the former being a dissonance and the latter being a consonance. That said, the part where you present the JI notation for a typical four-voice resolution needs reformatting so I can read it better.

  8. Come to think of it, would you mind us talking more about 14th-Century European Cadences? I'd like to know more about that in general, and I'm having a hard time finding information on that sort of thing.

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