Xenharmonic Wiki - User contributions [en]

LΛMPLIGHT

2026-05-05T13:42:06Z

Keiv: Added lots of stuff about their conlangs

'''L4MPLIGHT''' (Shasavic: ''Cléfca'' [klʲɛːfkə]), also known as '''LAMPLIGHT''' (stylized '''LΛMPLIGHT''') or '''ランプライト''', is a Japanese [[composer]], music theorist, conlanger and [[:Category:Worldbuilding|worldbuilder]]{{Citation needed}}.

They developed the Shasavic, Faentian, and Lisatopian constructed languages, and '''Shasavistic music theory'''.

== Constructed languages ==
They have created three languages, all descended from the same proto-language, Ipket. The languages, called Shasavic (Safcyk), Faentian (Fēntā), and Lisatopian (Lisatopa), are described in their YouTube video [https://www.youtube.com/watch?v=8nxWoh4NBeE Ch.2 / Constructed Languages] and on their [https://lamplight0.sakura.ne.jp/a/ personal website]. Their languages' etymology is based on their [[wikipedia:Synesthesia|synesthesia]] which causes them to associate certain sounds. For example, Ly is the word for the major third, because like the major third, LΛMPLIGHT perceives the lateral approximant as sounding "green". Most of their videos are narrated in Shasavic, with subtitles in English and Japanese. Lisatopian was created for language study using computers.

== Shasavistic music theory ==
They describe ''Shasavistic music theory'' in their YouTube playlist titled [https://www.youtube.com/playlist?list=PLUPfWiftqUrIy3dMXdcpaYpGt6vZAeW5a ''微分音理論 / Microtonal theory'']. It is recorded and illustrated in Shasavic with optional English and Japanese closed captions.

=== Dimensions ===
A key concept in Shasavistic theory is the idea of '''dimensions''', which are different prime numbers in the harmonic series. Here are the first few dimensions:
{| class="wikitable"
|+
! Dimension
! Prime number
! Associated ratio
! Interval
|-
| 1D
| 2
| [[2/1]]
| [[Octave]]
|-
| 2D
| 3
| [[3/2]]
| [[Just perfect fifth]]
|-
| 3D
| 5
| [[5/4]]
| Classical [[major third]]
|-
| 4D
| 7
| [[7/4]]
| Septimal minor seventh
|-
| 5D
| 11
| [[11/4]]
| Undecimal superfourth (plus one octave)
|}
(Note that 5D is typically voiced at the higher octave to avoid the clash between 11/8 and 3/2.)

A ratio can be thought of as a location in infinite-dimensional space, where each dimension corresponds to a prime number (positive movement being multiplication, and negative movement being division). In this way it is similar to [[monzo]] notation.

=== Chordonyms ===
'''Chordonyms''' (Shasavic: ''Nafchaclap'' [nəfxəkləp]) are the system for referring to chords in Shasavistic theory. Chordonyms are formed out of the '''harmononyms''' for each note, in order. Harmononyms are a solmization system based on these ratios. Harmononyms represent movement in different dimensions (excluding 1D due to octave equivalency) to create the names for notes. Harmononyms and their ratios can be explored at the web app [https://lamplight0.sakura.ne.jp/a/music/chalaxata.php?mode=%E6%A0%BC%E5%AD%90&fund=261.6255653006https://lamplight0.sakura.ne.jp/a/music/chalaxata.php?mode=%E6%A0%BC%E5%AD%90&fund=261.6255653006 Chalaxata] (UI in Japanese).

Below are a list of dimensions, movements (exponent), and their corresponding harmonyms. For an extended list, please visit [https://lamplight0.sakura.ne.jp/a/misc/scending2hnym.php ''Formula to Harmonym''], which contains dimensions up to 21D (73/1).
{| class="wikitable"
|+
! rowspan="2" | Dimension
! colspan="7" |Amount of movement
|-
!-3
! -2
! -1
! 0
! 1
! 2
! 3
|-
| 2D
| Ju
| Schu
| Fu
| Ah
| Chy
| Scy
| Xcy
|-
| 3D
|Srvu
| Sru
| Su
| Ah
| Ly
| Dry
| Drvy
|-
| 4D
|Prvu
| Pru
| Pu
| Ah
| My
| Mry
| Mrvy
|-
| 5D
|Krvu
| Kru
| Tschu
| Ah
| Zy
| Zry
| Zrvy
|-
| 6D
|Grvau
| Grau
| Gnau
| Ah
| Gnay
| Gray
| Grvay
|}
Harmononyms can indicate movement in more than one dimension simultaneously. For example, [[15/8]] is 3/2 times 5/4, or Chy + Ly, so it is called Chyli. [[11/6]] is 2/3 times 11/4, or Fu + Zy, so it is called Fuzi. (Note that the final Y in "Zy" is replaced with an I, which represents palatalization of the preceding consonant.) [[6/5]] is 3/2 times 4/5, or Chy + Su, so it is called Chys. (Note that the U in "Su" is removed.)

There exist 1D harmonyms used to represent pitches octaves away, although they aren't typically used.
{| class="wikitable"
|+
! colspan="7" |Amount of movement
|-
!-3
!-2
!-1
!0
!1
!2
!3
|-
|Urvuh
|Uruh
|Uh
|Ah
|Yh
|Yryh
|Yrvyh
|-
|Urvu-
|Uru-
|U-
|
|Y-
|Yry-
|Yrvy-
|}

This system of harmonyms can represent pitches up to a movement of ±12. To access these higher harmonyms, attach an appropriate prefix to the corresponding ±1 direction.
{| class="wikitable"
|+
! rowspan="2" | Dimension
! colspan="10" |Amount of movement
|-
!3
! 4
! 5
! 6
! 7
! 8
! 9
! 10
! 11
! 12
|-
| 2D (+)
|Xcy
| Sciry
| Scirvy
| Xciry
| Xcirvy
| Chlachy
| Yuchy
| Xychy
| Nuichy
| Kychy
|-
| 2D (-)
|Ju
| Schru
| Scirvu
| Jru
| Jrvu
| Chlafu
| Yufu
| Xyfu
| Nuifu
| Kyfu
|-
| Any
|Tra-
| Cva-
| Da-
| Tui-
| Sa-
| Chla-
| Yu-
| Xy-
| Nui-
| Ky-
|}

The root is the sign (normalized direction) and the prefix is the corresponding magnitude. For example, <math>2^{-30}/7^{-11}</math> (aka 7fꜜꜜꜜꜜꜜꜜꜜꜜꜜꜜꜜ) is <math>(4/7)^{-11} \times (2)^{-8} \cong (4/7)^{-11}</math>, so its magnitude is -11. Its sign is negative, so the root will be "pu" (-1). Its magnitude is 11, so the prefix will be "Nui-" (11). Therefore, the harmonym is "Nuipu".

For dimensions 4 through 7, 2D harmonyms don't follow this pattern. After 7, its harmonym aligns with the general prefix-root construction.

Chordonyms are created by combining multiple harmonyms. These harmonyms are arranged according to these rules (in order of priority):

# Pitches whose highest dimensions are lower go first.
# Pitches reached with a lower number of dimensions go first.
# Pitches reached with ascents go before pitches reached with descents. (Lower dimensions get higher priority.)
# Pitches reached with fewer ascents and descents go first.

A chord including Ah, Chy, and Zy would be called AhChyZy. A chord including Ah, Ly, Chy, and Chyli would be called AhChyLyChyli.

Commas are represented with their corresponding harmonym followed by -ama. The harmonyms used in comma names must use their numeric prefix form. For example, Scirvykr (Scirvy + Kru) must change to Dachykr (Dachy + Kru).

Here are some examples of comma names:

Schupama (64/63, Septimal comma)

Dachykrama (243/242, Rastma)

Trafutralimiama (875/864, Keema)

=== Chord diagrams ===
[[File:Shasavistic chord diagram.svg|alt=A chord diagram used in Shasavistic music theory|thumb|A chord diagram]]
Chord diagrams (Shasavic: ''Nafchalica'' /nəfxəlʲkə/) are a system for representing chords. Pitches are represented by horizontal white lines and steps in different dimensions are represented by different lines.

{| class="wikitable"
|+
! Dimension
! Color
! Position
|-
| 2D
| Red
| Left
|-
| 3D
| Green
| Right
|-
| 4D
| Purple
| Diagonal (bottom-left to top-right)
|-
| 5D
| Orange
| Diagonal (bottom-right to top-left)
|}
On the right is an example of a chord diagram. From bottom to top, the pitches are Ah (root, identified by the triangle pointing at it), Ly (5/4), Chy (3/2), Fuzi (11/6), Scy (9/4), Zy (11/4), and Xcy (27/8). The chordonym is AhChyScyXcyLyZyFuzi.

Chord diagrams do not typically indicate voicing or octave doubling of pitches.

== Original music ==
Their xenharmonic compositions are listenable in their YouTube playlist titled [https://www.youtube.com/playlist?list=PLUPfWiftqUrLfx3p7KldNF0xWJdJLH6OR ''微分音作品 / Microtonal works''].

[[Stephen Weigel]]'s transcription of L4MPLIGHT's introductory composition is [https://www.youtube.com/watch?v=EPMIWHouXSg viewable on YouTube here].

== Social media ==
* [https://lamplight0.sakura.ne.jp/a Personal website]
* [https://www.youtube.com/@L4MPLIGHT YouTube]
* [https://x.com/L4MPLIGHT Twitter]

[[Category:Composers]]
[[Category:Theorists]]
[[Category:Worldbuilding]]
[[Category:People]]
[[Category:Listen]]

L4MPLIGHT

2025-12-10T20:45:13Z

Keiv: Keiv moved page L4MPLIGHT to LΛMPLIGHT: lamp explained in their FAQ https://lamplight0.sakura.ne.jp/en/a/articles/?id=1091 that the "L4MPLIGHT" form is only to be used when character limitations apply.

#REDIRECT [[LΛMPLIGHT]]

LΛMPLIGHT

2025-12-10T20:45:13Z

'''L4MPLIGHT''', also known as '''LAMPLIGHT''' (stylized '''LΛMPLIGHT''') or '''ランプライト''', is a Japanese [[composer]], music theorist, conlanger and [[:Category:Worldbuilding|worldbuilder]].

They developed the Shasavic, Faentian, and Lisatopian constructed languages, and '''Shasavistic music theory'''.

== Constructed languages ==
They have created three languages, all descended from the same proto-language. The languages, called Shasavic (Safcyk), Faentian (Fēntā), and Lisatopian (Lisatopa), are described in their YouTube video [https://www.youtube.com/watch?v=8nxWoh4NBeE Ch.2 / Constructed Languages]. Most of their videos are narrated in Shasavic, with subtitles in English and Japanese. Lisatopian was created for language study using computers.

== Shasavistic music theory ==
They describe ''Shasavistic music theory'' in their YouTube playlist titled [https://www.youtube.com/playlist?list=PLUPfWiftqUrIy3dMXdcpaYpGt6vZAeW5a ''微分音理論 / Microtonal theory'']. It is recorded and illustrated in Shasavic with optional English and Japanese closed captions.

=== Dimensions ===
A key concept in Shasavistic theory is the idea of '''dimensions''', which are different prime numbers in the harmonic series. Here are the first few dimensions:
{| class="wikitable"
|+
! Dimension
! Prime number
! Associated ratio
! Interval
|-
| 1D
| 2
| [[2/1]]
| [[Octave]]
|-
| 2D
| 3
| [[3/2]]
| [[Just perfect fifth]]
|-
| 3D
| 5
| [[5/4]]
| [[Major third]]
|-
| 4D
| 7
| [[7/4]]
| Septimal minor seventh
|-
| 5D
| 11
| [[11/4]]
| Undecimal superfourth (plus one octave)
|}
(Note that 5D is typically voiced at the higher octave to avoid the clash between 11/8 and 3/2.)

A ratio can be thought of as a location in infinite-dimensional space, where each dimension corresponds to a prime number (positive movement being multiplication, and negative movement being division). In this way it is similar to [[monzo]] notation.

=== Chordonyms ===
'''Chordonyms''' (Shasavic: ''Nafchaclap'' /nəfxəkləp/) are the system for referring to chords in Shasavistic theory. Chordonyms are formed out of the '''harmononyms''' for each note, in order. Harmononyms are a solmization system based on these ratios. Harmononyms represent movement in different dimensions (excluding 1D due to octave equivalency) to create the names for notes. Harmononyms and their ratios can be explored at the web app [https://lamplight0.sakura.ne.jp/a/music/chalaxata.php?mode=%E6%A0%BC%E5%AD%90&fund=261.6255653006https://lamplight0.sakura.ne.jp/a/music/chalaxata.php?mode=%E6%A0%BC%E5%AD%90&fund=261.6255653006 Chalaxata] (UI in Japanese).

Below are a list of dimensions, movements (exponent), and their corresponding harmonyms. For an extended list, please visit [https://lamplight0.sakura.ne.jp/a/misc/scending2hnym.php ''Formula to Harmonym''], which contains dimensions up to 21D (73/1).
{| class="wikitable"
|+
! rowspan="2" | Dimension
! colspan="7" |Amount of movement
|-
!-3
! -2
! -1
! 0
! 1
! 2
! 3
|-
| 2D
| Ju
| Schu
| Fu
| Ah
| Chy
| Scy
| Xcy
|-
| 3D
|Srvu
| Sru
| Su
| Ah
| Ly
| Dry
| Drvy
|-
| 4D
|Prvu
| Pru
| Pu
| Ah
| My
| Mry
| Mrvy
|-
| 5D
|Krvu
| Kru
| Tschu
| Ah
| Zy
| Zry
| Zrvy
|-
| 6D
|Grvau
| Grau
| Gnau
| Ah
| Gnay
| Gray
| Grvay
|}
Harmononyms can indicate movement in more than one dimension simultaneously. For example, [[15/8]] is 3/2 times 5/4, or Chy + Ly, so it is called Chyli. [[11/6]] is 2/3 times 11/4, or Fu + Zy, so it is called Fuzi. (Note that the final Y in "Zy" is replaced with an I, which represents palatalization of the preceding consonant.) [[6/5]] is 3/2 times 4/5, or Chy + Su, so it is called Chys. (Note that the U in "Su" is removed.)

There exist 1D harmonyms used to represent pitches octaves away, although they aren't typically used.
{| class="wikitable"
|+
! colspan="7" |Amount of movement
|-
!-3
!-2
!-1
!0
!1
!2
!3
|-
|Urvuh
|Uruh
|Uh
|Ah
|Yh
|Yryh
|Yrvyh
|-
|Urvu-
|Uru-
|U-
|
|Y-
|Yry-
|Yrvy-
|}

This system of harmonyms can represent pitches up to a movement of ±12. To access these higher harmonyms, attach an appropriate prefix to the corresponding ±1 direction.
{| class="wikitable"
|+
! rowspan="2" | Dimension
! colspan="10" |Amount of movement
|-
!3
! 4
! 5
! 6
! 7
! 8
! 9
! 10
! 11
! 12
|-
| 2D (+)
|Xcy
| Sciry
| Scirvy
| Xciry
| Xcirvy
| Chlachy
| Yuchy
| Xychy
| Nuichy
| Kychy
|-
| 2D (-)
|Ju
| Schru
| Scirvu
| Jru
| Jrvu
| Chlafu
| Yufu
| Xyfu
| Nuifu
| Kyfu
|-
| Any
|Tra-
| Cva-
| Da-
| Tui-
| Sa-
| Chla-
| Yu-
| Xy-
| Nui-
| Ky-
|}

The root is the sign (normalized direction) and the prefix is the corresponding magnitude. For example, <math>2^{-30}/7^{-11}</math> (aka 7fꜜꜜꜜꜜꜜꜜꜜꜜꜜꜜꜜ) is <math>(4/7)^{-11} \times (2)^{-8} \cong (4/7)^{-11}</math>, so its magnitude is -11. Its sign is negative, so the root will be "pu" (-1). Its magnitude is 11, so the prefix will be "Nui-" (11). Therefore, the harmonym is "Nuipu".

For dimensions 4 through 7, 2D harmonyms don't follow this pattern. After 7, its harmonym aligns with the general prefix-root construction.

Chordonyms are created by combining multiple harmonyms. These harmonyms are arranged according to these rules (in order of priority):

# Pitches whose highest dimensions are lower go first.
# Pitches reached with a lower number of dimensions go first.
# Pitches reached with ascents go before pitches reached with descents. (Lower dimensions get higher priority.)
# Pitches reached with fewer ascents and descents go first.

A chord including Ah, Chy, and Zy would be called AhChyZy. A chord including Ah, Ly, Chy, and Chyli would be called AhChyLyChyli.

Commas are represented with their corresponding harmonym followed by -ama. The harmonyms used in comma names must use their numeric prefix form. For example, Scirvykr (Scirvy + Kru) must change to Dachykr (Dachy + Kru).

Here are some examples of comma names:

Schupama (64/63, Septimal comma)

Dachykrama (243/242, Rastma)

Trafutralimiama (875/864, Keema)

=== Chord diagrams ===
[[File:Shasavistic chord diagram.svg|alt=A chord diagram used in Shasavistic music theory|thumb|A chord diagram]]
Chord diagrams (Shasavic: ''Nafchalica'' /nəfxəlʲkə/) are a system for representing chords. Pitches are represented by horizontal white lines and steps in different dimensions are represented by different lines.

{| class="wikitable"
|+
! Dimension
! Color
! Position
|-
| 2D
| Red
| Left
|-
| 3D
| Green
| Right
|-
| 4D
| Purple
| Diagonal (bottom-left to top-right)
|-
| 5D
| Orange
| Diagonal (bottom-right to top-left)
|}
On the right is an example of a chord diagram. From bottom to top, the pitches are Ah (root, identified by the triangle pointing at it), Ly (5/4), Chy (3/2), Fuzi (11/6), Scy (9/4), Zy (11/4), and Xcy (27/8). The chordonym is AhChyScyXcyLyZyFuzi.

Chord diagrams do not typically indicate voicing or octave doubling of pitches.

== Original music ==
Their xenharmonic compositions are listenable in their YouTube playlist titled [https://www.youtube.com/playlist?list=PLUPfWiftqUrLfx3p7KldNF0xWJdJLH6OR ''微分音作品 / Microtonal works''].

[[Stephen Weigel]]'s transcription of L4MPLIGHT's introductory composition is [https://www.youtube.com/watch?v=EPMIWHouXSg viewable on YouTube here].

== Social media ==
* [https://lamplight0.sakura.ne.jp/a Personal website]
* [https://www.youtube.com/@L4MPLIGHT YouTube]
* [https://x.com/L4MPLIGHT Twitter]

[[Category:Composers]]
[[Category:Theorists]]
[[Category:Worldbuilding]]
[[Category:People]]
[[Category:Listen]]

19edo chords

2025-12-06T20:57:06Z

Keiv: Added the Harmonic Diminished chord

In contrast to [[12edo]] chords, [[19edo]] has four instead of the usual two main tertian chord qualities, which opens up completely new territory for eager musicians/microtonalists to explore.

19edo approximates intervals with factors of 2 ([[2/1]]), 3 ([[3/2]]), 5 ([[5/4]], [[5/3]], [[6/5]]), and some intervals involving 7 ([[9/7]], [[27/14]]) quite well. This essentially means that normal chords, like in 12edo, can be represented nicely in 19edo.

Despite that [[enharmonic equivalence]] works differently in 19edo, pitches can be written down with [[Chain-of-fifths notation|standard notation]].

== Triads ==
Note that the cent values of the intervals are approximated. For detailed numbers, see [[19edo]].
{| class="wikitable"
|-
! Chord name
! Symbol
! Notes
! Steps
! Cents
! Audio
|-
| Major
| C
| C–E–G
| 0–6–11
| 0–379–695
| [[File:C_(19-EDO).mp3|frameless]]
|-
| Minor
| Cm, Cmin
| C–E♭–G
| 0–5–11
| 0–316–695
| [[File:Cm (19-EDO).mp3|frameless]]
|-
| Supermajor, Major sharp 3
| Csmaj, C(♯3), Cmaj(♯3)
| C–E♯–G
| 0–7–11
| 0–442–695
| [[File:Csmaj (19-EDO).mp3|frameless]]
|-
| Subminor, Minor flat 3
| Csmin, Cmin(♭3)
| C–E𝄫–G
| 0–4–11
| 0–253–695
| [[File:Csmin (19-EDO).mp3|frameless]]
|-
| Sus4
| Csus4
| C–F–G
| 0–8–11
| 0–505–695
| [[File:Csus4 (19-EDO).mp3|frameless]]
|-
| Sus2
| Csus2
| C–D–G
| 0–3–11
| 0–189–695
| [[File:Csus2 (19-EDO).mp3|frameless]]
|-
| Diminished
| Cdim, C°
| C–E♭–G♭
| 0–5–10
| 0–316–632
| [[File:Cdim (19-EDO).mp3|frameless]]
|-
| Harmonic Diminished
| Cm(db5), Cmin(db5)
| C–E♭–G𝄫
| 0–5–9
| 0–316–568
| {{Todo|inline=1| add audio }}
|-
| Augmented
| Caug, C+
| C–E–G♯
| 0–6–12
| 0–379–758
| [[File:Caug (19-EDO).mp3|frameless]]
|}

== Tetrads (sixth/seventh chords) ==
Because of interesting new features – the supermajor seventh and "harmonic" seventh/augmented sixth – new tetrads are possible while existing ones can be preserved.

=== Major chords ===
{| class="wikitable"
|-
! Chord name
! Symbol
! Notes
! Steps
! Cents
! Audio
|-
| Major seventh
| Cmaj7
| C–E–G–B
| 0–6–11–17
| 0–379–695–1074
| [[File:Cmaj7 (19-EDO).mp3|frameless]]
|-
| Dominant seventh
| C7
| C–E–G–B♭
| 0–6–11–16
| 0–379–695–1011
| [[File:C7 (19-EDO).mp3|frameless]]
|-
| Harmonic seventh
| Ch7
| C–E–G–B𝄫
| 0–6–11–15
| 0–379–695–947
| [[File:Ch7 (19-EDO).mp3|frameless]]
|-
| Sixth
| C6
| C–E–G–A
| 0–6–11–14
| 0–379–695–884
| [[File:C6 (19-EDO).mp3|frameless]]
|}

=== Minor chords ===
{| class="wikitable"
|-
! Chord name
! Symbol
! Steps
! Cents
! Audio
|-
| Minor seventh
| Cm7
| 0-5-11-16
| 0-316-695-1011
| [[File:Cm7 (19-EDO).mp3|frameless]]
|-
| Minor major seventh
| Cmmaj7
| 0-5-11-17
| 0-316-695-1074
| [[File:Cmmaj7 (19-EDO).mp3|frameless]]
|-
| Minor augmented six
| Cm+6
| 0-5-11-15
| 0-316-695-947
| [[File:Cm+6 (19-EDO).mp3|frameless]]
|-
| Minor six
| Cm6
| 0-5-11-14
| 0-316-695-884
| [[File:Cm6 (19-EDO).mp3|frameless]]
|-
| Minor seven flat six (NT aeolian seven)
| Cm7(♭6) [Faeol7]
| 0-5-13-16
| 0-316-821-1011
| [[File:Cm7b6 (19-EDO).mp3|frameless]]
|}

=== Supermajor chords ===
{| class="wikitable"
|-
! Chord name
! Symbol
! Steps
! Cents
! Audio
|-
| Supermajor seventh
| Csmaj7, Cmaj7(♯3, ♯7)
| 0-7-11-18
| 0-442-695-1137
| [[File:Csmaj7 (19-EDO).mp3|frameless]]
|}

=== Subminor chords ===
{| class="wikitable"
|-
! Chord name
! Symbol
! Steps
! Cents
! Audio
|-
| Subminor seventh
| Csmin7, Cmin7(♭3, ♭7)
| 0-4-11-15
| 0-253-695-947
| [[File:Csmin7 (19-EDO).mp3|frameless]]
|}

=== Diminished chords ===
{| class="wikitable"
! Chord name
! Symbol
! Steps
! Cents
! Audio
|-
| Diminished seven (fully diminished)
| Cdim7, C°7
| 0-5-10-15
| 0-316-632-947
| [[File:Cdim7 (19-EDO).mp3|frameless]]
|-
| Minor seven flat five (half-diminished)
| Cm7(♭5), Cø7
| 0-5-10-16
| 0-316-632-1011
| [[File:Cm7b5 (19-EDO).mp3|frameless]]
|}

=== Augmented chords ===
{| class="wikitable"
|-
! Chord name
! Symbol
! Steps
! Cents
! Audio
|-
| Augmented seven
| Caug7, C+7, C7♯5
| 0-6-12-16
| 0-379-758-1011
| [[File:Caug7 (19-EDO).mp3|frameless]]
|-
| Major seven sharp five
| Cmaj7♯5
| 0-6-12-18
| 0-379-758-1137
| [[File:Cmaj7-5 (19-EDO).mp3|frameless]]
|}

== Pentads (ninth chords) ==
=== Major chords ===
=== Major chords ===
{| class="wikitable"
|-
! Chord name
! Symbol
! Steps
! Cents
! Audio
|-
| Major ninth
| Cmaj9
| 0-6-11-17-22
| 0-379-695-1074-1389
| [[File:Cmaj9 (19-EDO).mp3| frameless]]
|-
| Dominant ninth
| C9
| 0-6-11-16-22
| 0-379-695-1011-1389
| [[File:C9 (19-EDO).mp3| frameless]]
|-
| Dominant seven flat nine
| C7(♭9)
| 0-6-11-16-21
| 0-379-695-1011-1326
| [[File:C7b9 (19-EDO).mp3| frameless]]
|-
| Harmonic ninth
| Ch9
| 0-6-11-15-22
| 0-379-695-947-1389
| [[File:Ch9 (19-EDO).mp3| frameless]]
|-
| Harmonic seven flat nine
| Ch7(♭9)
| 0-6-11-15-21
| 0-379-695-947-1326
| [[File:Ch7b9 (19-EDO).mp3| frameless]]
|}

== Ups and downs notation ==
Various [[19edo]] triads, 6th and 7th chords, named via [[Ups and downs notation|ups and downs]]. Not meant to be exhaustive, but this list does demonstrate the basic rules for naming. The aug 6th and the dim 7th are the same interval, and chords that use that interval can be named as either a 6th chord or a 7th chord.

Highly implausible chords are written as a more plausible [[Chord homonym|homonym]], e.g. 0-8-12 = C4(a5) becomes 8-12-19 = F(d3). "a" stands for augmented and "d" stands for diminished.

{| class="wikitable"
|-
! colspan="2" |third ---->
! d3
! m3
! M3
! a3/d4
! P4
|-
! colspan="2" |Triads with P5
| C(d3)
| Cm
| C
| C(a3)
| C4
|-
! rowspan="2" |Other
triads
!d5
|Cd(d3)
|Cd
|C(b5)
|C(a3b5)
|C4(b5)
|-
!a5
|''G#(a3)''
|''G#a(a3)''
|Ca
|Ca(a3)
|''F(d3)''
|-
! rowspan="5" |Tetrads
with a

P5
! M6
| C6(d3)
| Cm6
| C6
| C6(a3)
| C4,6
|-
! A6
d7
| C(d3)#6
C(d3)d7
| Cm#6
Cmd7
| C,#6
C,d7
| C(a3)#6
C(a3)d7
| C4#6
C4d7
|-
! m7
| C7(d3)
| Cm7
| C7
| C7(a3)
| C4,7
|-
! M7
| CM7(d3)
| CmM7
| CM7
| CM7(a3)
| C4M7
|-
! A7
| Ca7(d3)
| Cm#7
| C,#7
| C(a3)#7
| C4#7
|}

A comma (the actual punctuation mark ",") is spoken as "add", thus C,v7 is "C add-down-seven". The only exception is when a comma separates two numbers, as in C4,7 which is "C four-seven". A comma is written, and "add" is spoken, whenever not doing so would cause confusion with another chord.

4:5:6:7 = C E G vBb is named C add-dim7. To get a shorter name for this important chord, one could call it a harmonic7 chord, or one could borrow from [[color notation]] to call it a har7 chord, written Ch7. Names for subharmonic chords can be similarly shortened.

{| class="wikitable"
|-
! Chord
! Notes
! colspan="2" | Ups and downs name
! colspan="2" | Color name
|-
| 4:5:6:7
| C E G Bbb
| C add-dim-7
| C,d7
| C har7
| Ch7
|-
|4:5:6:7:9
|C E G Bbb D
|C nine dim-7
|C9(d7)
|C har9
|Ch9
|-
| 7:6:5:4
| C Ebb Gbb Bbb
| C dim-3 dim-7 double-dim5
| C(d3)d7(dd5)
| C sub7
| Cs7
|-
| 12:10:8:7
| C Eb G A#
| C minor sharp-6
| Cm#6
| C sub6
| Cs6
|-
|9:7:6:5:4
|C E# G Bb D
|C nine aug-3
|C9(a3)
|Csub9
|Cs9
|}

== See also ==
* [[15edo chord names]]
* [[22edo chord names]]
* [[24edo chord names]]
* [[31edo chord names]]
* [[41edo chord names]]
* [[Kite Guitar chord shapes (downmajor tuning)]]

[[Category:19edo]]
[[Category:Chords]]