Kite's color notation - Revision history

TallKite: /* Chord names */ har and sub, Ch19no7 edge case, omit 7/4 not 15/8

2026-08-04T01:25:20Z

Chord names: har and sub, Ch19no7 edge case, omit 7/4 not 15/8

← Older revision		Revision as of 01:25, 4 August 2026
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	The [[4:5:6:7\|y,z7 chord]] is called the har7 ("har-seven") or h7 chord, because it's part of the harmonic series. {{nowrap\|[[4:5:6:7:9\|Ch9]] {{=}} Cy,z7,9}} and {{nowrap\|[[4:5:6:7:9:11\|Ch11]] {{=}} Cy,z7,w9,1o11}}. The [[60:70:84:105\|sub7 ("sub-seven") or s7 chord]] is part of the subharmonic series. It's the first 7 subharmonics, with the 7th subharmonic becoming the root. {{nowrap\|[[140:180:210:252:315\|Cs9]] {{=}} Cr,g7,9}} and {{nowrap\|Cs11 {{=}} C1o11(1or5,1og9)}}. Note that s9 is not s7 plus a 9th, but a completely different chord. Usually the 9th ''ascends'' from the root, but in a sub9 chord it ''descends'' from the top note, and becomes the new root. Thus the s7 chord is contained in the ''upper'' four notes of the s9 chord, not the lower four. See [[Kite's thoughts on harmonic and subharmonic nomenclature]].		The [[4:5:6:7\|y,z7 chord]] is called the har7 ("har-seven") or h7 chord, because it's part of the harmonic series. {{nowrap\|[[4:5:6:7:9\|Ch9]] {{=}} Cy,z7,9}} and {{nowrap\|[[4:5:6:7:9:11\|Ch11]] {{=}} Cy,z7,w9,1o11}}. The [[60:70:84:105\|sub7 ("sub-seven") or s7 chord]] is part of the subharmonic series. It's the first 7 subharmonics, with the 7th subharmonic becoming the root. {{nowrap\|[[140:180:210:252:315\|Cs9]] {{=}} Cr,g7,9}} and {{nowrap\|Cs11 {{=}} C1o11(1or5,1og9)}}. Note that s9 is not s7 plus a 9th, but a completely different chord. Usually the 9th ''ascends'' from the root, but in a sub9 chord it ''descends'' from the top note, and becomes the new root. Thus the s7 chord is contained in the ''upper'' four notes of the s9 chord, not the lower four. See [[Kite's thoughts on harmonic and subharmonic nomenclature]].

	{{nowrap\|Cs6 {{=}} Cg,r6}} {{nowrap\|{{=}} [[70:84:105:120\|12:10:8:7]]}}. Ch6 = Cz,y6 = 6:7:9:10. Other than these two chords, all harmonic/subharmonic numbers must be odd, e.g. Ch8 is invalid. For any odd number N greater than 5, ChN is 1:3:5...N and CsN is N...5:3:1 (but 1 and 3 are generally written as their octave equivalents 4 and 6). <u>Additions, a</u><u>lterations and omissions refer to degrees</u>, not harmonics or subharmonics: Ch7,11 adds w11, not 1o11. Ch9no5 omits w5, not y3. However, <u>all numbers > 13 refer to (sub)harmonics</u>, e.g. Ch9,15 adds y7 and Ch19no15 omits it.		{{nowrap\|Cs6 {{=}} Cg,r6}} {{nowrap\|{{=}} [[70:84:105:120\|12:10:8:7]]}}. Ch6 = Cz,y6 = 6:7:9:10. Other than these two chords, all harmonic/subharmonic numbers must be odd, e.g. Ch8 is invalid. For any odd number N greater than 5, ChN is 1:3:5...N and CsN is N...5:3:1 (but 1 and 3 are generally written as their octave equivalents 4 and 6). <u>Additions, a</u><u>lterations and omissions refer to degrees</u>, not harmonics or subharmonics: Ch7,11 adds w11, not 1o11. Ch9no5 omits w5, not y3. However, <u>all numbers > 13 refer to (sub)harmonics</u>, e.g. Ch9,15 adds y7 and Ch19no15 omits it. When two harmonics share the same degree, omitting that degree omits the lower harmonic. Thus Ch19no7 omits 7/4.

	<u>All wa chords can be named conventionally</u>, since wa is the default color. Thus {{dash\|w1, w3, w5}} is both Cw and Cm. And {{dash\|w1, Lw3, w5, w6}} is both CLw6 and C6. For aesthetic reasons, the conventional name is preferred only when neither "M" nor "m" appears in the name (since color notation doesn't use major/minor). This is especially true if the chord includes non-wa notes: {{dash\|w1, w3, w5, y6}} is Cw,y6 not Cm,y6.		<u>All wa chords can be named conventionally</u>, since wa is the default color. Thus {{dash\|w1, w3, w5}} is both Cw and Cm. And {{dash\|w1, Lw3, w5, w6}} is both CLw6 and C6. For aesthetic reasons, the conventional name is preferred only when neither "M" nor "m" appears in the name (since color notation doesn't use major/minor). This is especially true if the chord includes non-wa notes: {{dash\|w1, w3, w5, y6}} is Cw,y6 not Cm,y6.

TallKite: /* Chord names */

2026-08-04T00:48:18Z

Chord names

← Older revision		Revision as of 00:48, 4 August 2026
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	The [[4:5:6:7\|y,z7 chord]] is called the har7 ("har-seven") or h7 chord, because it's part of the harmonic series. {{nowrap\|[[4:5:6:7:9\|Ch9]] {{=}} Cy,z7,9}} and {{nowrap\|[[4:5:6:7:9:11\|Ch11]] {{=}} Cy,z7,w9,1o11}}. The [[60:70:84:105\|sub7 ("sub-seven") or s7 chord]] is part of the subharmonic series. It's the first 7 subharmonics, with the 7th subharmonic becoming the root. {{nowrap\|[[140:180:210:252:315\|Cs9]] {{=}} Cr,g7,9}} and {{nowrap\|Cs11 {{=}} C1o11(1or5,1og9)}}. Note that s9 is not s7 plus a 9th, but a completely different chord. Usually the 9th ''ascends'' from the root, but in a sub9 chord it ''descends'' from the top note, and becomes the new root. Thus the s7 chord is contained in the ''upper'' four notes of the s9 chord, not the lower four. See [[Kite's thoughts on harmonic and subharmonic nomenclature]].		The [[4:5:6:7\|y,z7 chord]] is called the har7 ("har-seven") or h7 chord, because it's part of the harmonic series. {{nowrap\|[[4:5:6:7:9\|Ch9]] {{=}} Cy,z7,9}} and {{nowrap\|[[4:5:6:7:9:11\|Ch11]] {{=}} Cy,z7,w9,1o11}}. The [[60:70:84:105\|sub7 ("sub-seven") or s7 chord]] is part of the subharmonic series. It's the first 7 subharmonics, with the 7th subharmonic becoming the root. {{nowrap\|[[140:180:210:252:315\|Cs9]] {{=}} Cr,g7,9}} and {{nowrap\|Cs11 {{=}} C1o11(1or5,1og9)}}. Note that s9 is not s7 plus a 9th, but a completely different chord. Usually the 9th ''ascends'' from the root, but in a sub9 chord it ''descends'' from the top note, and becomes the new root. Thus the s7 chord is contained in the ''upper'' four notes of the s9 chord, not the lower four. See [[Kite's thoughts on harmonic and subharmonic nomenclature]].

	{{nowrap\|Cs6 {{=}} Cg,r6}} {{nowrap\|{{=}} [[70:84:105:120\|12:10:8:7]]}}. Ch6 = Cz,y6 = 6:7:9:10. Other than ~~the s6 chord~~, all harmonic/subharmonic numbers must be odd, e.g. Ch8 is invalid. For any odd number N greater than 5, ChN is 1:3:5...N and CsN is N...5:3:1. <u>Additions, a</u><u>lterations and omissions refer to degrees</u>, not harmonics or subharmonics: Ch7,11 adds w11, not 1o11. Ch9no5 omits w5, not y3. However, <u>all numbers > 13 refer to (sub)harmonics</u>, e.g. Ch9,15 adds y7 and Ch19no15 omits it.		{{nowrap\|Cs6 {{=}} Cg,r6}} {{nowrap\|{{=}} [[70:84:105:120\|12:10:8:7]]}}. Ch6 = Cz,y6 = 6:7:9:10. Other than these two chords, all harmonic/subharmonic numbers must be odd, e.g. Ch8 is invalid. For any odd number N greater than 5, ChN is 1:3:5...N and CsN is N...5:3:1 (but 1 and 3 are generally written as their octave equivalents 4 and 6). <u>Additions, a</u><u>lterations and omissions refer to degrees</u>, not harmonics or subharmonics: Ch7,11 adds w11, not 1o11. Ch9no5 omits w5, not y3. However, <u>all numbers > 13 refer to (sub)harmonics</u>, e.g. Ch9,15 adds y7 and Ch19no15 omits it.

	<u>All wa chords can be named conventionally</u>, since wa is the default color. Thus {{dash\|w1, w3, w5}} is both Cw and Cm. And {{dash\|w1, Lw3, w5, w6}} is both CLw6 and C6. For aesthetic reasons, the conventional name is preferred only when neither "M" nor "m" appears in the name (since color notation doesn't use major/minor). This is especially true if the chord includes non-wa notes: {{dash\|w1, w3, w5, y6}} is Cw,y6 not Cm,y6.		<u>All wa chords can be named conventionally</u>, since wa is the default color. Thus {{dash\|w1, w3, w5}} is both Cw and Cm. And {{dash\|w1, Lw3, w5, w6}} is both CLw6 and C6. For aesthetic reasons, the conventional name is preferred only when neither "M" nor "m" appears in the name (since color notation doesn't use major/minor). This is especially true if the chord includes non-wa notes: {{dash\|w1, w3, w5, y6}} is Cw,y6 not Cm,y6.

TallKite: /* Glossary / crash course */

2026-04-28T08:47:54Z

Glossary / crash course

← Older revision		Revision as of 08:47, 28 April 2026
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	\| colspan="2" \| -a-		\| colspan="2" \| -a-
	\| delimits an exponent such as bi-, tri-, etc.		\| delimits an exponent such as bi-, tri-, etc.
	\| ~~Trizogu~~ = ~~3zg~~ = 1029/1000, but ~~Trizo~~-~~agu~~ = ~~3zag~~ = 343/320		\| trizoguma = 3zgM = 1029/1000, but trizo-aguma = 3zagM = 343/320
	\|-		\|-
	\| co-		\| co-
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	\| T		\| T
	\| the temperament that tempers out that comma		\| the temperament that tempers out that comma
	\| guma = 81/80, ~~Guti~~ = meantone		\| guma = 81/80, guti = meantone
	\|-		\|-
	\| -bi		\| -bi
	\| style="text-align: center;" \| b		\| style="text-align: center;" \| b
	\| as a suffix, 2nd smallest comma in the row segment		\| as a suffix, 2nd smallest comma in the row segment
	\| ~~Guti~~ = gT is Meantone, but ~~Gubiti~~ = gbT is [[Father]] (16/15 vanishes)		\| guti = gT is Meantone, but gubiti = gbT is [[Father]] (16/15 vanishes)
	\|-		\|-
	\| wa-		\| -wama
	\| w-		\| wM
	\| alternate interval format, only used for 3-limit commas		\| alternate interval format, only used for 3-limit commas
	\| [[Mercator's comma]] = ~~wa-53~~ = ~~w-53~~		\| [[Mercator's comma]] = 53wama = 53wM
	\|-		\|-
	\| colspan="2" \| nowa		\| colspan="2" \| nowa
	\| remove 3 (wa) from the prime subgroup, i.e. no-threes		\| remove 3 (wa) from the prime subgroup, i.e. no-threes
	\| 2.5.7 = yaza nowa, 2.5.7 & 50/49 = ~~Biruyoti~~ nowa		\| 2.5.7 = yaza nowa, 2.5.7 & 50/49 = biruyoti nowa
	\|-		\|-
	\| colspan="2" \| noca		\| colspan="2" \| noca
	\| remove 2 (clear) from the prime subgroup, i.e. non-8ve		\| remove 2 (clear) from the prime subgroup, i.e. non-8ve
	\| 3.5.7 = yaza noca, 3.5.7 & 245/243 = ~~Zozoyoti~~ noca		\| 3.5.7 = yaza noca, 3.5.7 & 245/243 = zozoyoti noca
	\|-		\|-
	\| colspan="2" \| nowaca		\| colspan="2" \| nowaca
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	\| style="text-align: center;" \| +		\| style="text-align: center;" \| +
	\| add an untempered prime to the temperament		\| add an untempered prime to the temperament
	\| Blackwood = 2.3.5 with 256/243 tempered out = ~~Sawati~~ + ya		\| Blackwood = 2.3.5 with 256/243 tempered out = sawati + ya = swT+y
	\|-		\|-
	\| and		\| and
	\| style="text-align: center;" \| &		\| style="text-align: center;" \| &
	\| joins commas that are tempered out		\| joins commas that are tempered out
	\| 7-limit Porcupine = 2.3.5.7 with 250/243 & 64/63 = ~~Triyo~~ & Ru		\| 7-limit Porcupine = 2.3.5.7 with 250/243 & 64/63 = triyo & ruti = 3y&rT
	\|-		\|-
	\| -ward		\| -ward

TallKite: /* Temperament names and comma names */

2026-04-28T06:58:49Z

Temperament names and comma names

← Older revision		Revision as of 06:58, 28 April 2026
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	Another reason is to avoid an awkward unison trill. [[File:Notation example 5a.png\|992x992px]]		Another reason is to avoid an awkward unison trill. [[File:Notation example 5a.png\|992x992px]]

	== ~~Temperament~~ names and ~~comma~~ names ==		== Comma names and temperament names ==
	{{Main \| Color notation/Temperament names}}		{{Main \| Color notation/Temperament names}}

	Temperaments are named after the comma(s) they temper out. Commas are named using an alternate format that replaces the degree (unison, 2nd, etc.) with the suffix "-ma" (mnemonics: com'''ma''', or -is'''ma''' as in schisma and kleisma). The degree isn't needed because the comma is assumed to be the smallest interval in cents of that color and magnitude. For example, the guma is the smallest of the 7 central gu intervals, which is [[81/80]]. Tempering out the guma creates [[Meantone]] or Guti or gT, where "-ti" and "T" stand for temperament. [[2048/2025]] is the saguguma, abbreviated sggM, and [[Srutal]] is Saguguti or sggT. [[Porcupine]] is Triyoti or 3yT.		Temperaments are named after the comma(s) they temper out. Commas are named using an alternate format that replaces the degree (unison, 2nd, etc.) with the suffix "-ma" (mnemonics: com'''ma''', or -is'''ma''' as in schisma and kleisma). The degree isn't needed because the comma is assumed to be the smallest interval in cents of that color and magnitude. For example, the guma is the smallest of the 7 central gu intervals, which is [[81/80]]. Tempering out the guma creates [[Meantone]] or Guti or gT, where "-ti" and "T" stand for temperament. [[2048/2025]] is the saguguma, abbreviated sggM, and [[Srutal]] is Saguguti or sggT. [[Porcupine]] is Triyoti or 3yT. Example usage of -ti and -ma: triyoti inflates the guma.

	The logic for M and T being upper case is that in color notation abbreviations, nouns are always capitalized and adjectives are generally not. Color notation nouns: M and T, note names A B C D E F G, roman numerals I II III IV V VI VII, and degrees 1 2 3 etc. (L for large is an exception to this rule, because otherwise Ly7 would be ly7, which looks like a y7 chord on the tonic.)		The logic for M and T being upper case is that in color notation abbreviations, nouns are always capitalized and adjectives are generally not. Color notation nouns: M and T, note names A B C D E F G, roman numerals I II III IV V VI VII, and degrees 1 2 3 etc. (L for large is an exception to this rule, because otherwise Ly7 would be ly7, which looks like a y7 chord on the tonic.)

	~~Certain~~ commas over 90¢ use the -bi- syllable. For example, [[Schismic]] is Layoti or LyT, but [[Mavila]] is Layobiti or LybT, where "-bi-" and "-b-" indicate it's the 2nd largest layo interval. Likewise 135/128 is named layobima or LybM.		Some commas over 90¢ (but not all) are the ''2nd'' smallest interval in cents of that color and magnitude. These use the -bi- syllable. For example, [[Schismic]] is Layoti or LyT, but [[Mavila]] is Layobiti or LybT, where "-bi-" and "-b-" indicate it's the 2nd largest layo interval. Likewise 135/128 is named layobima or LybM.

	Most wa commas use yet another alternate format, e.g. [[Mercator's comma]] is 53wama or 53wM. The only exceptions are lawama (LwM = A1), sawama (swM = m2) and lalawama (LLwM = pythagorean comma).		Most wa commas use yet another alternate format, e.g. [[Mercator's comma]] is 53wama or 53wM. The only exceptions are lawama (LwM = A1), sawama (swM = m2) and lalawama (LLwM = pythagorean comma).

	Multi-comma temperaments have multiple commas in their name. [[Meantone family#Septimal meantone \| Septimal Meantone]] is Gu & ~~Ruyoyo~~ and [[Meantone family#Dominant \| Dominant Meantone]] is Gu & ~~Rugu (-ti can be omitted when the ampersand is used)~~. Untempered primes are included with a plus sign. The 2.3.5.7 prime subgroup with 81/80 tempered out is Guti + za = gT+z, and [[Blackwood]] is Sawati + ya = swT+y.		Multi-comma temperaments have multiple commas in their name. [[Meantone family#Septimal meantone \| Septimal Meantone]] is gu & ruyoyoti or g&ryyT, and [[Meantone family#Dominant \| Dominant Meantone]] is gu & ruguti or g&rgT. Untempered primes are included with a plus sign. The 2.3.5.7 prime subgroup with 81/80 tempered out is Guti + za = gT+z, and [[Blackwood]] is Sawati + ya = swT+y.

	MOS and MODMOS scales can be named as e.g. Triyoti[8]. Individual modes can be named as 2nd Triyoti[8], 3rd Triyoti[7] b7, etc. See [[Genchain mode numbering]].		MOS and MODMOS scales can be named as e.g. Triyoti[8]. Individual modes can be named as 2nd Triyoti[8], 3rd Triyoti[7] b7, etc. See [[Genchain mode numbering]].

TallKite: /* Temperament names and comma names */

2026-04-26T06:09:03Z

Temperament names and comma names

← Older revision		Revision as of 06:09, 26 April 2026
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	Temperaments are named after the comma(s) they temper out. Commas are named using an alternate format that replaces the degree (unison, 2nd, etc.) with the suffix "-ma" (mnemonics: com'''ma''', or -is'''ma''' as in schisma and kleisma). The degree isn't needed because the comma is assumed to be the smallest interval in cents of that color and magnitude. For example, the guma is the smallest of the 7 central gu intervals, which is [[81/80]]. Tempering out the guma creates [[Meantone]] or Guti or gT, where "-ti" and "T" stand for temperament. [[2048/2025]] is the saguguma, abbreviated sggM, and [[Srutal]] is Saguguti or sggT. [[Porcupine]] is Triyoti or 3yT.		Temperaments are named after the comma(s) they temper out. Commas are named using an alternate format that replaces the degree (unison, 2nd, etc.) with the suffix "-ma" (mnemonics: com'''ma''', or -is'''ma''' as in schisma and kleisma). The degree isn't needed because the comma is assumed to be the smallest interval in cents of that color and magnitude. For example, the guma is the smallest of the 7 central gu intervals, which is [[81/80]]. Tempering out the guma creates [[Meantone]] or Guti or gT, where "-ti" and "T" stand for temperament. [[2048/2025]] is the saguguma, abbreviated sggM, and [[Srutal]] is Saguguti or sggT. [[Porcupine]] is Triyoti or 3yT.

	The logic for M and T being upper case is that in color notation abbreviations, nouns are always capitalized and adjectives are generally not. ~~Besides~~ M and T, ~~colorspeak nouns are all conventional terms:~~ note names A B C D E F G, ~~degrees 1 2 3 etc., and~~ roman numerals I II III IV V VI VII. (L for large is an exception to this rule, because otherwise Ly7 would be ly7, which looks like a y7 chord on the tonic.)		The logic for M and T being upper case is that in color notation abbreviations, nouns are always capitalized and adjectives are generally not. Color notation nouns: M and T, note names A B C D E F G, roman numerals I II III IV V VI VII, and degrees 1 2 3 etc. (L for large is an exception to this rule, because otherwise Ly7 would be ly7, which looks like a y7 chord on the tonic.)

	Certain commas over 90¢ use the -bi- syllable. For example, [[Schismic]] is Layoti or LyT, but [[Mavila]] is Layobiti or LybT, where "-bi-" and "-b-" indicate it's the 2nd largest layo interval. Likewise 135/128 is named layobima or LybM.		Certain commas over 90¢ use the -bi- syllable. For example, [[Schismic]] is Layoti or LyT, but [[Mavila]] is Layobiti or LybT, where "-bi-" and "-b-" indicate it's the 2nd largest layo interval. Likewise 135/128 is named layobima or LybM.

TallKite: /* Temperament names and comma names */ changed wa-53 to 53wama, plus minor clarifications

2026-04-26T01:07:49Z

Temperament names and comma names: changed wa-53 to 53wama, plus minor clarifications

← Older revision		Revision as of 01:07, 26 April 2026
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	=== Po and qu ===		=== Po and qu ===
	'''Po''' and '''qu''' ("coo") (short forms '''p''' and '''q''') are two optional inflections that indicate raising/lowering by a pythagorean comma. (Mnemonics: p stands for pythagorean, and q is the mirror image of p.) Why would one want to ~~do that~~? Because by first subtracting that comma and then adding it on again, one can rename a note as another note. This is similar to [[Sagittal notation \|Sagittal]] notation (see [http://tallkite.com/misc_files/Sagittal-JI-Translated-To-Colors.png Sagittal-JI-Translated-To-Colors.png]).		'''Po''' and '''qu''' ("coo") (short forms '''p''' and '''q''') are two optional inflections that indicate raising/lowering by a pythagorean comma. (Mnemonics: p stands for pythagorean, and q is the mirror image of p. The pythagorean comma is fifthward, hence 3-over, hence "-o".) Why would one want to raise by this comma? Because by first subtracting that comma and then adding it on again, one can rename a note as another note. This is similar to [[Sagittal notation \|Sagittal]] notation (see [http://tallkite.com/misc_files/Sagittal-JI-Translated-To-Colors.png Sagittal-JI-Translated-To-Colors.png]).

	For example, F# minus a pythagorean comma is Gb. And Gb plus a pythagorean comma is po Gb. Thus an alternate name for F# is po Gb. <u>Adding po raises the degree by one</u>. The new note name is always a 12edo equivalent of the old note name. Adding qu lowers the degree: {{nowrap\|Gb {{=}} qu F#}}. If one is resolving from 31oGb to G, one can rename 31oGb as 31oqF# = thiwoqu F sharp.		For example, F# minus a pythagorean comma is Gb. And Gb plus a pythagorean comma is po Gb. Thus an alternate name for F# is po Gb. <u>Adding po raises the degree by one</u>. The new note name is always a 12edo equivalent of the old note name. Adding qu lowers the degree: {{nowrap\|Gb {{=}} qu F#}}. If one is resolving from 31oGb to G, one can rename 31oGb as 31oqF# = thiwoqu F sharp.
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	{{Main \| Color notation/Temperament names}}		{{Main \| Color notation/Temperament names}}

	Temperaments are named after the comma(s) they temper out. Commas are named using an alternate format that replaces the degree (unison, 2nd, etc.) with the suffix "-ma" (mnemonics: com'''ma''', or -is'''ma''' as in schisma and kleisma). The degree isn't needed because the comma is ~~always~~ the smallest interval in cents of that color and magnitude. For example, the guma is the smallest of the 7 central gu intervals, which is [[81/80]]. Tempering out the guma creates [[Meantone]] or Guti or gT, where "-ti" and "T" stand for temperament. [[2048/2025]] is the saguguma, abbreviated sggM, and [[Srutal]] is Saguguti or sggT. [[Porcupine]] is Triyoti or 3yT. ~~Certain commas over 90¢ use the -bi- syllable. For example, [[Schismic]] is Layoti or LyT, but [[Mavila]] is Layobiti or LybT, with -bi- indicating it's the 2nd largest layo interval.~~		Temperaments are named after the comma(s) they temper out. Commas are named using an alternate format that replaces the degree (unison, 2nd, etc.) with the suffix "-ma" (mnemonics: com'''ma''', or -is'''ma''' as in schisma and kleisma). The degree isn't needed because the comma is assumed to be the smallest interval in cents of that color and magnitude. For example, the guma is the smallest of the 7 central gu intervals, which is [[81/80]]. Tempering out the guma creates [[Meantone]] or Guti or gT, where "-ti" and "T" stand for temperament. [[2048/2025]] is the saguguma, abbreviated sggM, and [[Srutal]] is Saguguti or sggT. [[Porcupine]] is Triyoti or 3yT.

	The logic for M and T being upper case is that in color notation abbreviations, nouns are always capitalized and adjectives are generally not. Besides M and T, colorspeak nouns are all conventional terms: note names A B C D E F G, degrees 1 2 3 etc., and roman numerals I II III IV V VI VII. (L for large is an exception to this rule, because otherwise Ly7 would be ly7, which looks like a y7 chord on the tonic.)		The logic for M and T being upper case is that in color notation abbreviations, nouns are always capitalized and adjectives are generally not. Besides M and T, colorspeak nouns are all conventional terms: note names A B C D E F G, degrees 1 2 3 etc., and roman numerals I II III IV V VI VII. (L for large is an exception to this rule, because otherwise Ly7 would be ly7, which looks like a y7 chord on the tonic.)

	Most wa commas use yet another alternate format, e.g. [[Mercator's comma]] is ~~wa-53~~ or ~~w-53~~. The only exceptions are lawama (LwM = A1), sawama (swM = m2) and lalawama (LLwM = pythagorean comma).		Certain commas over 90¢ use the -bi- syllable. For example, [[Schismic]] is Layoti or LyT, but [[Mavila]] is Layobiti or LybT, where "-bi-" and "-b-" indicate it's the 2nd largest layo interval. Likewise 135/128 is named layobima or LybM.

			Most wa commas use yet another alternate format, e.g. [[Mercator's comma]] is 53wama or 53wM. The only exceptions are lawama (LwM = A1), sawama (swM = m2) and lalawama (LLwM = pythagorean comma).

	Multi-comma temperaments have multiple commas in their name. [[Meantone family#Septimal meantone \| Septimal Meantone]] is Gu & Ruyoyo and [[Meantone family#Dominant \| Dominant Meantone]] is Gu & Rugu (-ti can be omitted when the ampersand is used). Untempered primes are included with a plus sign. The 2.3.5.7 prime subgroup with 81/80 tempered out is Guti + za = gT+z, and [[Blackwood]] is Sawati + ya = swT+y.		Multi-comma temperaments have multiple commas in their name. [[Meantone family#Septimal meantone \| Septimal Meantone]] is Gu & Ruyoyo and [[Meantone family#Dominant \| Dominant Meantone]] is Gu & Rugu (-ti can be omitted when the ampersand is used). Untempered primes are included with a plus sign. The 2.3.5.7 prime subgroup with 81/80 tempered out is Guti + za = gT+z, and [[Blackwood]] is Sawati + ya = swT+y.

TallKite: /* Glossary / crash course */

2026-04-16T08:15:41Z

Glossary / crash course

← Older revision		Revision as of 08:15, 16 April 2026
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	* "bi" means both "doubled" as in biruyo and "2nd smallest" as in Layobi. The meaning is always clear from context.		* "bi" means both "doubled" as in biruyo and "2nd smallest" as in Layobi. The meaning is always clear from context.
	* "b" means both the short form of -bi and the flat sign. The meaning is always clear from context.		* "b" means both the short form of -bi and the flat sign. The meaning is always clear from context.
			* "M" means both "comma" and "major", as in CM7. The meaning is always clear from context.

	Temperaments use "virtual colors" represented with arrows ^ v and perhaps slashes / \		Temperaments use "virtual colors" represented with arrows ^ v and perhaps slashes / \

TallKite: added the -ma suffix for comma

2026-04-16T08:12:12Z

added the -ma suffix for comma

← Older revision		Revision as of 08:12, 16 April 2026
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	We've seen bi- for double and tri- for triple. Quadruple and quintuple are abbreviated '''quad-''' and '''quin-''', as in quadyo or quingu. Colorspeak syllables usually end in one of the five basic vowels. Quad and quin are both exceptions, so quad may optionally be spoken as "kwah", and quin as "kwee".		We've seen bi- for double and tri- for triple. Quadruple and quintuple are abbreviated '''quad-''' and '''quin-''', as in quadyo or quingu. Colorspeak syllables usually end in one of the five basic vowels. Quad and quin are both exceptions, so quad may optionally be spoken as "kwah", and quin as "kwee".

	Except for quad, all exponent syllables are prime numbers. Septuple is '''sep-'''. ~~Above~~ 7, all exponent syllables are the root color word plus -e for exponent. Eleven-fold is '''le-''' = "e'''<u>l</u>'''even '''<u>e</u>'''xponent", pronounced as in "<u>le</u>ns". Thirteen-fold is '''the-''' as in "<u>the</u>saurus". Note that sep- means seven-fold and '''se-''' means seven<u>teen</u>-fold.		Except for quad, all exponent syllables are prime numbers. Septuple is '''sep-'''. For extreme cases above 7, all exponent syllables are the root color word plus -e for exponent. Eleven-fold is '''le-''' = "e'''<u>l</u>'''even '''<u>e</u>'''xponent", pronounced as in "<u>le</u>ns". Thirteen-fold is '''the-''' as in "<u>the</u>saurus". Note that sep- means seven-fold and '''se-''' means seven<u>teen</u>-fold.

	Exponents can be combined: sextuple = tribi-, 8-fold = quadbi-, 9-fold = tritri-, 10-fold = quinbi-, 12-fold = quadtri-, 14-fold = sepbi-, 15-fold = quintri-, 16-fold = quadquad-, etc. The component syllables are simply the number's prime factors in descending order, except that quad replaces bibi and comes before tri.		Exponents can be combined: sextuple = tribi-, 8-fold = quadbi-, 9-fold = tritri-, 10-fold = quinbi-, 12-fold = quadtri-, 14-fold = sepbi-, 15-fold = quintri-, 16-fold = quadquad-, etc. The component syllables are simply the number's prime factors in descending order, except that quad replaces bibi and comes before tri.

TallKite: /* Temperament names and comma names */

2026-04-16T07:58:17Z

Temperament names and comma names

Show changes

TallKite: /* Chord names */ added the har6 chord

2026-03-20T09:03:42Z

Chord names: added the har6 chord

← Older revision		Revision as of 09:03, 20 March 2026
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	Omissions are indicated by "no". The za [[Hendrix chord]] is Ch7z10no5. (To write it as a sharp-9 chord, see [[Color notation#Po and qu\|po and qu]] below.) A no3 tetrad can also be written as a 5 chord with an added 6th or 7th: Cy6no3 = C5y6, and Cz7(zg5)no3 = C(zg5)z7.		Omissions are indicated by "no". The za [[Hendrix chord]] is Ch7z10no5. (To write it as a sharp-9 chord, see [[Color notation#Po and qu\|po and qu]] below.) A no3 tetrad can also be written as a 5 chord with an added 6th or 7th: Cy6no3 = C5y6, and Cz7(zg5)no3 = C(zg5)z7.

	The [[4:5:6:7\|y,z7 chord]] is called the ~~h7 chord~~ ("har-seven"), because it's part of the harmonic series. {{nowrap\|[[4:5:6:7:9\|Ch9]] {{=}} Cy,z7,9}} and {{nowrap\|[[4:5:6:7:9:11\|Ch11]] {{=}} Cy,z7,w9,1o11}}. The [[60:70:84:105\|s7 ("sub-seven") chord]] is part of the subharmonic series. It's the first 7 subharmonics, with the 7th subharmonic becoming the root. {{nowrap\|[[140:180:210:252:315\|Cs9]] {{=}} Cr,g7,9}} and {{nowrap\|Cs11 {{=}} C1o11(1or5,1og9)}}. Note that s9 is not s7 plus a 9th, but a completely different chord. Usually the 9th ''ascends'' from the root, but in a sub9 chord it ''descends'' from the top note, and becomes the new root. Thus the s7 chord is contained in the ''upper'' four notes of the s9 chord, not the lower four.		The [[4:5:6:7\|y,z7 chord]] is called the har7 ("har-seven") or h7 chord, because it's part of the harmonic series. {{nowrap\|[[4:5:6:7:9\|Ch9]] {{=}} Cy,z7,9}} and {{nowrap\|[[4:5:6:7:9:11\|Ch11]] {{=}} Cy,z7,w9,1o11}}. The [[60:70:84:105\|sub7 ("sub-seven") or s7 chord]] is part of the subharmonic series. It's the first 7 subharmonics, with the 7th subharmonic becoming the root. {{nowrap\|[[140:180:210:252:315\|Cs9]] {{=}} Cr,g7,9}} and {{nowrap\|Cs11 {{=}} C1o11(1or5,1og9)}}. Note that s9 is not s7 plus a 9th, but a completely different chord. Usually the 9th ''ascends'' from the root, but in a sub9 chord it ''descends'' from the top note, and becomes the new root. Thus the s7 chord is contained in the ''upper'' four notes of the s9 chord, not the lower four.

	{{nowrap\|Cs6 {{=}} Cg,r6}} {{nowrap\|{{=}} [[70:84:105:120\|12:10:8:7]]}}. Other than the s6 chord, all harmonic/subharmonic numbers must be odd, e.g. ~~Ch6 and~~ Ch8 ~~are~~ invalid. For any odd number N greater than 5, ChN is 1:3:5...N and CsN is N...5:3:1. <u>Additions, a</u><u>lterations and omissions refer to degrees</u>, not harmonics or subharmonics: Ch7,11 adds w11, not 1o11. Ch9no5 omits w5, not y3. However, <u>all numbers > 13 refer to (sub)harmonics</u>, e.g. Ch9,15 adds y7 and Ch19no15 omits it.		{{nowrap\|Cs6 {{=}} Cg,r6}} {{nowrap\|{{=}} [[70:84:105:120\|12:10:8:7]]}}. Ch6 = Cz,y6 = 6:7:9:10. Other than the s6 chord, all harmonic/subharmonic numbers must be odd, e.g. Ch8 is invalid. For any odd number N greater than 5, ChN is 1:3:5...N and CsN is N...5:3:1. <u>Additions, a</u><u>lterations and omissions refer to degrees</u>, not harmonics or subharmonics: Ch7,11 adds w11, not 1o11. Ch9no5 omits w5, not y3. However, <u>all numbers > 13 refer to (sub)harmonics</u>, e.g. Ch9,15 adds y7 and Ch19no15 omits it.

	<u>All wa chords can be named conventionally</u>, since wa is the default color. Thus {{dash\|w1, w3, w5}} is both Cw and Cm. And {{dash\|w1, Lw3, w5, w6}} is both CLw6 and C6. For aesthetic reasons, the conventional name is preferred only when neither "M" nor "m" appears in the name (since color notation doesn't use major/minor). This is especially true if the chord includes non-wa notes: {{dash\|w1, w3, w5, y6}} is Cw,y6 not Cm,y6.		<u>All wa chords can be named conventionally</u>, since wa is the default color. Thus {{dash\|w1, w3, w5}} is both Cw and Cm. And {{dash\|w1, Lw3, w5, w6}} is both CLw6 and C6. For aesthetic reasons, the conventional name is preferred only when neither "M" nor "m" appears in the name (since color notation doesn't use major/minor). This is especially true if the chord includes non-wa notes: {{dash\|w1, w3, w5, y6}} is Cw,y6 not Cm,y6.

← Older revision		Revision as of 01:25, 4 August 2026
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	The [[4:5:6:7\|y,z7 chord]] is called the har7 ("har-seven") or h7 chord, because it's part of the harmonic series. {{nowrap\|[[4:5:6:7:9\|Ch9]] {{=}} Cy,z7,9}} and {{nowrap\|[[4:5:6:7:9:11\|Ch11]] {{=}} Cy,z7,w9,1o11}}. The [[60:70:84:105\|sub7 ("sub-seven") or s7 chord]] is part of the subharmonic series. It's the first 7 subharmonics, with the 7th subharmonic becoming the root. {{nowrap\|[[140:180:210:252:315\|Cs9]] {{=}} Cr,g7,9}} and {{nowrap\|Cs11 {{=}} C1o11(1or5,1og9)}}. Note that s9 is not s7 plus a 9th, but a completely different chord. Usually the 9th ''ascends'' from the root, but in a sub9 chord it ''descends'' from the top note, and becomes the new root. Thus the s7 chord is contained in the ''upper'' four notes of the s9 chord, not the lower four. See [[Kite's thoughts on harmonic and subharmonic nomenclature]].		The [[4:5:6:7\|y,z7 chord]] is called the har7 ("har-seven") or h7 chord, because it's part of the harmonic series. {{nowrap\|[[4:5:6:7:9\|Ch9]] {{=}} Cy,z7,9}} and {{nowrap\|[[4:5:6:7:9:11\|Ch11]] {{=}} Cy,z7,w9,1o11}}. The [[60:70:84:105\|sub7 ("sub-seven") or s7 chord]] is part of the subharmonic series. It's the first 7 subharmonics, with the 7th subharmonic becoming the root. {{nowrap\|[[140:180:210:252:315\|Cs9]] {{=}} Cr,g7,9}} and {{nowrap\|Cs11 {{=}} C1o11(1or5,1og9)}}. Note that s9 is not s7 plus a 9th, but a completely different chord. Usually the 9th ''ascends'' from the root, but in a sub9 chord it ''descends'' from the top note, and becomes the new root. Thus the s7 chord is contained in the ''upper'' four notes of the s9 chord, not the lower four. See [[Kite's thoughts on harmonic and subharmonic nomenclature]].

	{{nowrap\|Cs6 {{=}} Cg,r6}} {{nowrap\|{{=}} [[70:84:105:120\|12:10:8:7]]}}. Ch6 = Cz,y6 = 6:7:9:10. Other than these two chords, all harmonic/subharmonic numbers must be odd, e.g. Ch8 is invalid. For any odd number N greater than 5, ChN is 1:3:5...N and CsN is N...5:3:1 (but 1 and 3 are generally written as their octave equivalents 4 and 6). <u>Additions, a</u><u>lterations and omissions refer to degrees</u>, not harmonics or subharmonics: Ch7,11 adds w11, not 1o11. Ch9no5 omits w5, not y3. However, <u>all numbers > 13 refer to (sub)harmonics</u>, e.g. Ch9,15 adds y7 and Ch19no15 omits it.		{{nowrap\|Cs6 {{=}} Cg,r6}} {{nowrap\|{{=}} [[70:84:105:120\|12:10:8:7]]}}. Ch6 = Cz,y6 = 6:7:9:10. Other than these two chords, all harmonic/subharmonic numbers must be odd, e.g. Ch8 is invalid. For any odd number N greater than 5, ChN is 1:3:5...N and CsN is N...5:3:1 (but 1 and 3 are generally written as their octave equivalents 4 and 6). <u>Additions, a</u><u>lterations and omissions refer to degrees</u>, not harmonics or subharmonics: Ch7,11 adds w11, not 1o11. Ch9no5 omits w5, not y3. However, <u>all numbers > 13 refer to (sub)harmonics</u>, e.g. Ch9,15 adds y7 and Ch19no15 omits it. When two harmonics share the same degree, omitting that degree omits the lower harmonic. Thus Ch19no7 omits 7/4.

	<u>All wa chords can be named conventionally</u>, since wa is the default color. Thus {{dash\|w1, w3, w5}} is both Cw and Cm. And {{dash\|w1, Lw3, w5, w6}} is both CLw6 and C6. For aesthetic reasons, the conventional name is preferred only when neither "M" nor "m" appears in the name (since color notation doesn't use major/minor). This is especially true if the chord includes non-wa notes: {{dash\|w1, w3, w5, y6}} is Cw,y6 not Cm,y6.		<u>All wa chords can be named conventionally</u>, since wa is the default color. Thus {{dash\|w1, w3, w5}} is both Cw and Cm. And {{dash\|w1, Lw3, w5, w6}} is both CLw6 and C6. For aesthetic reasons, the conventional name is preferred only when neither "M" nor "m" appears in the name (since color notation doesn't use major/minor). This is especially true if the chord includes non-wa notes: {{dash\|w1, w3, w5, y6}} is Cw,y6 not Cm,y6.

← Older revision		Revision as of 00:48, 4 August 2026
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	The [[4:5:6:7\|y,z7 chord]] is called the har7 ("har-seven") or h7 chord, because it's part of the harmonic series. {{nowrap\|[[4:5:6:7:9\|Ch9]] {{=}} Cy,z7,9}} and {{nowrap\|[[4:5:6:7:9:11\|Ch11]] {{=}} Cy,z7,w9,1o11}}. The [[60:70:84:105\|sub7 ("sub-seven") or s7 chord]] is part of the subharmonic series. It's the first 7 subharmonics, with the 7th subharmonic becoming the root. {{nowrap\|[[140:180:210:252:315\|Cs9]] {{=}} Cr,g7,9}} and {{nowrap\|Cs11 {{=}} C1o11(1or5,1og9)}}. Note that s9 is not s7 plus a 9th, but a completely different chord. Usually the 9th ''ascends'' from the root, but in a sub9 chord it ''descends'' from the top note, and becomes the new root. Thus the s7 chord is contained in the ''upper'' four notes of the s9 chord, not the lower four. See [[Kite's thoughts on harmonic and subharmonic nomenclature]].		The [[4:5:6:7\|y,z7 chord]] is called the har7 ("har-seven") or h7 chord, because it's part of the harmonic series. {{nowrap\|[[4:5:6:7:9\|Ch9]] {{=}} Cy,z7,9}} and {{nowrap\|[[4:5:6:7:9:11\|Ch11]] {{=}} Cy,z7,w9,1o11}}. The [[60:70:84:105\|sub7 ("sub-seven") or s7 chord]] is part of the subharmonic series. It's the first 7 subharmonics, with the 7th subharmonic becoming the root. {{nowrap\|[[140:180:210:252:315\|Cs9]] {{=}} Cr,g7,9}} and {{nowrap\|Cs11 {{=}} C1o11(1or5,1og9)}}. Note that s9 is not s7 plus a 9th, but a completely different chord. Usually the 9th ''ascends'' from the root, but in a sub9 chord it ''descends'' from the top note, and becomes the new root. Thus the s7 chord is contained in the ''upper'' four notes of the s9 chord, not the lower four. See [[Kite's thoughts on harmonic and subharmonic nomenclature]].

	{{nowrap\|Cs6 {{=}} Cg,r6}} {{nowrap\|{{=}} [[70:84:105:120\|12:10:8:7]]}}. Ch6 = Cz,y6 = 6:7:9:10. Other than ~~the s6 chord~~, all harmonic/subharmonic numbers must be odd, e.g. Ch8 is invalid. For any odd number N greater than 5, ChN is 1:3:5...N and CsN is N...5:3:1. <u>Additions, a</u><u>lterations and omissions refer to degrees</u>, not harmonics or subharmonics: Ch7,11 adds w11, not 1o11. Ch9no5 omits w5, not y3. However, <u>all numbers > 13 refer to (sub)harmonics</u>, e.g. Ch9,15 adds y7 and Ch19no15 omits it.		{{nowrap\|Cs6 {{=}} Cg,r6}} {{nowrap\|{{=}} [[70:84:105:120\|12:10:8:7]]}}. Ch6 = Cz,y6 = 6:7:9:10. Other than these two chords, all harmonic/subharmonic numbers must be odd, e.g. Ch8 is invalid. For any odd number N greater than 5, ChN is 1:3:5...N and CsN is N...5:3:1 (but 1 and 3 are generally written as their octave equivalents 4 and 6). <u>Additions, a</u><u>lterations and omissions refer to degrees</u>, not harmonics or subharmonics: Ch7,11 adds w11, not 1o11. Ch9no5 omits w5, not y3. However, <u>all numbers > 13 refer to (sub)harmonics</u>, e.g. Ch9,15 adds y7 and Ch19no15 omits it.

	<u>All wa chords can be named conventionally</u>, since wa is the default color. Thus {{dash\|w1, w3, w5}} is both Cw and Cm. And {{dash\|w1, Lw3, w5, w6}} is both CLw6 and C6. For aesthetic reasons, the conventional name is preferred only when neither "M" nor "m" appears in the name (since color notation doesn't use major/minor). This is especially true if the chord includes non-wa notes: {{dash\|w1, w3, w5, y6}} is Cw,y6 not Cm,y6.		<u>All wa chords can be named conventionally</u>, since wa is the default color. Thus {{dash\|w1, w3, w5}} is both Cw and Cm. And {{dash\|w1, Lw3, w5, w6}} is both CLw6 and C6. For aesthetic reasons, the conventional name is preferred only when neither "M" nor "m" appears in the name (since color notation doesn't use major/minor). This is especially true if the chord includes non-wa notes: {{dash\|w1, w3, w5, y6}} is Cw,y6 not Cm,y6.

← Older revision		Revision as of 09:03, 20 March 2026
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	Omissions are indicated by "no". The za [[Hendrix chord]] is Ch7z10no5. (To write it as a sharp-9 chord, see [[Color notation#Po and qu\|po and qu]] below.) A no3 tetrad can also be written as a 5 chord with an added 6th or 7th: Cy6no3 = C5y6, and Cz7(zg5)no3 = C(zg5)z7.		Omissions are indicated by "no". The za [[Hendrix chord]] is Ch7z10no5. (To write it as a sharp-9 chord, see [[Color notation#Po and qu\|po and qu]] below.) A no3 tetrad can also be written as a 5 chord with an added 6th or 7th: Cy6no3 = C5y6, and Cz7(zg5)no3 = C(zg5)z7.

	The [[4:5:6:7\|y,z7 chord]] is called the ~~h7 chord~~ ("har-seven"), because it's part of the harmonic series. {{nowrap\|[[4:5:6:7:9\|Ch9]] {{=}} Cy,z7,9}} and {{nowrap\|[[4:5:6:7:9:11\|Ch11]] {{=}} Cy,z7,w9,1o11}}. The [[60:70:84:105\|s7 ("sub-seven") chord]] is part of the subharmonic series. It's the first 7 subharmonics, with the 7th subharmonic becoming the root. {{nowrap\|[[140:180:210:252:315\|Cs9]] {{=}} Cr,g7,9}} and {{nowrap\|Cs11 {{=}} C1o11(1or5,1og9)}}. Note that s9 is not s7 plus a 9th, but a completely different chord. Usually the 9th ''ascends'' from the root, but in a sub9 chord it ''descends'' from the top note, and becomes the new root. Thus the s7 chord is contained in the ''upper'' four notes of the s9 chord, not the lower four.		The [[4:5:6:7\|y,z7 chord]] is called the har7 ("har-seven") or h7 chord, because it's part of the harmonic series. {{nowrap\|[[4:5:6:7:9\|Ch9]] {{=}} Cy,z7,9}} and {{nowrap\|[[4:5:6:7:9:11\|Ch11]] {{=}} Cy,z7,w9,1o11}}. The [[60:70:84:105\|sub7 ("sub-seven") or s7 chord]] is part of the subharmonic series. It's the first 7 subharmonics, with the 7th subharmonic becoming the root. {{nowrap\|[[140:180:210:252:315\|Cs9]] {{=}} Cr,g7,9}} and {{nowrap\|Cs11 {{=}} C1o11(1or5,1og9)}}. Note that s9 is not s7 plus a 9th, but a completely different chord. Usually the 9th ''ascends'' from the root, but in a sub9 chord it ''descends'' from the top note, and becomes the new root. Thus the s7 chord is contained in the ''upper'' four notes of the s9 chord, not the lower four.

	{{nowrap\|Cs6 {{=}} Cg,r6}} {{nowrap\|{{=}} [[70:84:105:120\|12:10:8:7]]}}. Other than the s6 chord, all harmonic/subharmonic numbers must be odd, e.g. ~~Ch6 and~~ Ch8 ~~are~~ invalid. For any odd number N greater than 5, ChN is 1:3:5...N and CsN is N...5:3:1. <u>Additions, a</u><u>lterations and omissions refer to degrees</u>, not harmonics or subharmonics: Ch7,11 adds w11, not 1o11. Ch9no5 omits w5, not y3. However, <u>all numbers > 13 refer to (sub)harmonics</u>, e.g. Ch9,15 adds y7 and Ch19no15 omits it.		{{nowrap\|Cs6 {{=}} Cg,r6}} {{nowrap\|{{=}} [[70:84:105:120\|12:10:8:7]]}}. Ch6 = Cz,y6 = 6:7:9:10. Other than the s6 chord, all harmonic/subharmonic numbers must be odd, e.g. Ch8 is invalid. For any odd number N greater than 5, ChN is 1:3:5...N and CsN is N...5:3:1. <u>Additions, a</u><u>lterations and omissions refer to degrees</u>, not harmonics or subharmonics: Ch7,11 adds w11, not 1o11. Ch9no5 omits w5, not y3. However, <u>all numbers > 13 refer to (sub)harmonics</u>, e.g. Ch9,15 adds y7 and Ch19no15 omits it.

	<u>All wa chords can be named conventionally</u>, since wa is the default color. Thus {{dash\|w1, w3, w5}} is both Cw and Cm. And {{dash\|w1, Lw3, w5, w6}} is both CLw6 and C6. For aesthetic reasons, the conventional name is preferred only when neither "M" nor "m" appears in the name (since color notation doesn't use major/minor). This is especially true if the chord includes non-wa notes: {{dash\|w1, w3, w5, y6}} is Cw,y6 not Cm,y6.		<u>All wa chords can be named conventionally</u>, since wa is the default color. Thus {{dash\|w1, w3, w5}} is both Cw and Cm. And {{dash\|w1, Lw3, w5, w6}} is both CLw6 and C6. For aesthetic reasons, the conventional name is preferred only when neither "M" nor "m" appears in the name (since color notation doesn't use major/minor). This is especially true if the chord includes non-wa notes: {{dash\|w1, w3, w5, y6}} is Cw,y6 not Cm,y6.