Mason Green's New Common Practice Notation - Revision history

ArrowHead294 at 13:46, 31 December 2024

2024-12-31T13:46:29Z

← Older revision		Revision as of 13:46, 31 December 2024
Line 14:		Line 14:
	{\| class="wikitable"		{\| class="wikitable"
	\|-		\|-
	! Number of steps		! rowspan="3" \| Number of steps
	! Interval name		! rowspan="3" \| Interval name
	! ~~Approximation~~		! rowspan="3" \| JI intervals represented
	! Scale degree ~~name~~		! colspan="3" \| Scale degree
	! ~~Scale degree symbol~~		\|-
	! ~~Scale degree~~ Roman numeral		! rowspan="2" \| Name
			! colspan="2" \| Symbol
			\|-
			! Number
			! Roman numeral
	\|-		\|-
	\| 0		\| 0
	\| Unison		\| Unison
	\| 1:1		\| 1/1
	\| Tonic		\| Tonic
	\| 1		\| 1

ArrowHead294: /* Chord progressions */

2024-12-31T13:44:14Z

Chord progressions

← Older revision		Revision as of 13:44, 31 December 2024
Line 263:		Line 263:
	* The circle progression ({{overline\|vi}} - ii- V - I).		* The circle progression ({{overline\|vi}} - ii- V - I).
	* The 50s progression (I – {{overline\|vi}} - IV - V)		* The 50s progression (I – {{overline\|vi}} - IV - V)
	* "Axis of Awesome" (I - V - {{overline\|vi }}- IV).		* "Axis of Awesome" (I - V - {{overline\|vi}} - IV).
	* Pachelbel's Canon (I - V - {{overline\|vi }}- {{overline\|iii }}- IV - I - IV - V)		* Pachelbel's Canon (I - V - {{overline\|vi}} - {{overline\|iii}} - IV - I - IV - V)

	There are also many new possibilities that don't have any close analogues in 12edo. In general, enneadecimal scales offer more flexibility as well as orders of magnitude more possibilities for chord progressions, due to the greater diversity of both chords and scale degrees.		There are also many new possibilities that don't have any close analogues in 12edo. In general, enneadecimal scales offer more flexibility as well as orders of magnitude more possibilities for chord progressions, due to the greater diversity of both chords and scale degrees.

ArrowHead294 at 13:43, 31 December 2024

2024-12-31T13:43:55Z

← Older revision		Revision as of 13:43, 31 December 2024
Line 67:		Line 67:
	\| 5/4, 16/13, 26/21		\| 5/4, 16/13, 26/21
	\| Major mediant		\| Major mediant
	\| ~~<span style="text-decoration:~~ overline~~;">~~3~~</span>~~		\| {{overline\|3}}
	\| ~~<span style="text-decoration:~~ overline~~;">~~III~~</span>~~		\| {{overline\|III}}
	\|-		\|-
	\| 7		\| 7
Line 123:		Line 123:
	\| 5/3		\| 5/3
	\| Major submediant		\| Major submediant
	\| ~~<span style="text-decoration:~~ overline~~;">~~6~~</span>~~		\| {{overline\|6}}
	\| ~~<span style="text-decoration:~~ overline~~;">~~VI~~</span>~~		\| {{overline\|VI}}
	\|-		\|-
	\| 15		\| 15
Line 261:		Line 261:

	* All progressions using only I, IV, and V.		* All progressions using only I, IV, and V.
	* The circle progression (~~<span style="text-decoration:~~ overline~~;">~~vi~~</span>~~ - ii- V - I).		* The circle progression ({{overline\|vi}} - ii- V - I).
	* The 50s progression (I – ~~<span style="text-decoration:~~ overline~~;">~~vi~~</span>~~ - IV - V)		* The 50s progression (I – {{overline\|vi}} - IV - V)
	* "Axis of Awesome" (I - V - ~~<span style="text-decoration:~~ overline~~;">~~vi ~~</span>~~- IV).		* "Axis of Awesome" (I - V - {{overline\|vi }}- IV).
	* Pachelbel's Canon (I - V - ~~<span style="text-decoration:~~ overline~~;">~~vi ~~</span>~~- ~~<span style="text-decoration:~~ overline~~;">~~iii ~~</span>~~- IV - I - IV - V)		* Pachelbel's Canon (I - V - {{overline\|vi }}- {{overline\|iii }}- IV - I - IV - V)

	There are also many new possibilities that don't have any close analogues in 12edo. In general, enneadecimal scales offer more flexibility as well as orders of magnitude more possibilities for chord progressions, due to the greater diversity of both chords and scale degrees.		There are also many new possibilities that don't have any close analogues in 12edo. In general, enneadecimal scales offer more flexibility as well as orders of magnitude more possibilities for chord progressions, due to the greater diversity of both chords and scale degrees.

ArrowHead294 at 13:41, 31 December 2024

2024-12-31T13:41:40Z

← Older revision		Revision as of 13:41, 31 December 2024
Line 1:		Line 1:
	This is [[Mason Green]]'s proposed notation for chord progressions in scales related to:		This is [[Mason Green]]'s proposed notation for chord progressions in scales related to:

	* [[19-edo]] itself (in which the octave is just but the fifth significantly flat).		* [[19-edo]] itself (in which the octave is just but the fifth significantly flat).
Line 6:		Line 6:

	This notation is referred to as "New Common Practice" (NCP), in that it extends the Roman numeral analysis used for common practice to a 19-tone system. It should not be confused with standard Roman Numeral notation, which can also apply to 19-EDO and other tuning methods as well.		This notation is referred to as "New Common Practice" (NCP), in that it extends the Roman numeral analysis used for common practice to a 19-tone system. It should not be confused with standard Roman Numeral notation, which can also apply to 19-EDO and other tuning methods as well.
			__FORCETOC__
	~~-----~~		== New intervals ==
			19-EDO tempers out the large septimal diesis (49:48). Some tones can be seen as enharmonically equivalent to other tones.
	~~'''~~New intervals~~'''~~

	19-EDO tempers out the septimal diesis (49:48). Some tones can be seen as enharmonically equivalent to other tones

	Designating a particular pitch as the tonal center enables the other notes to be named relative to it. These names, which are independent of the notation used for the actual notes, are as follows:		Designating a particular pitch as the tonal center enables the other notes to be named relative to it. These names, which are independent of the notation used for the actual notes, are as follows:
Line 35:		Line 32:
	\| 25/24, 21/20, 28/27, 26/25, 27/26		\| 25/24, 21/20, 28/27, 26/25, 27/26
	\| Upper bleeding tone		\| Upper bleeding tone
	\| 1#		\| 1♯
	\| I#		\| I♯
	\|-		\|-
	\| 2		\| 2
Line 56:		Line 53:
	\| 7/6, 8/7, 15/13		\| 7/6, 8/7, 15/13
	\| Caesiant		\| Caesiant
	\| 2# ; 3♭		\| 2♯ ; 3♭
	\| ~~II#~~ , III♭		\| II♯ , III♭
	\|-		\|-
	\| 5		\| 5
Line 77:		Line 74:
	\| 32/25, 9/7, 13/10		\| 32/25, 9/7, 13/10
	\| Rubric		\| Rubric
	\| 3# , 4♭		\| 3♯, 4♭
	\| ~~III#~~ , IV♭		\| III♯ , IV♭
	\|-		\|-
	\| 8		\| 8
Line 91:		Line 88:
	\| 25/18, 7/5, 18/13		\| 25/18, 7/5, 18/13
	\| Hygrant		\| Hygrant
	\| 4#		\| 4♯
	\| ~~IV#~~		\| IV♯
	\|-		\|-
	\| 10		\| 10
Line 112:		Line 109:
	\| 25/16, 14/9, 20/13		\| 25/16, 14/9, 20/13
	\| Subrubric		\| Subrubric
	\| 5#, 6♭		\| 5♯, 6♭
	\| V#, VI♭		\| V♯, VI♭
	\|-		\|-
	\| 13		\| 13
Line 133:		Line 130:
	\| 7/4, 12/7, 26/15		\| 7/4, 12/7, 26/15
	\| Subcaesiant		\| Subcaesiant
	\| 6#		\| 6♯
	\| ~~VI#~~		\| VI♯
	\|-		\|-
	\| 16		\| 16
Line 168:		Line 165:
	As a result, the requirement of diatonicity is dropped and the whole 19-note gamut is accessible. There are therefore no "modes" in NCP, since all notes and chords are defined solely by their relationship to the tonic (the "home key"). This opens unusual possibilities, such as mixing major and minor tonality in the same composition.		As a result, the requirement of diatonicity is dropped and the whole 19-note gamut is accessible. There are therefore no "modes" in NCP, since all notes and chords are defined solely by their relationship to the tonic (the "home key"). This opens unusual possibilities, such as mixing major and minor tonality in the same composition.

	~~-----~~		== Expanding beyond triads ==

	~~'''~~Expanding ~~Beyond Triads'''~~

	Triads containing the tonic, mediant (third) and fifth are considered the basic chordal harmonies. Occasionally tetrads (seventh chords) appear.		Triads containing the tonic, mediant (third) and fifth are considered the basic chordal harmonies. Occasionally tetrads (seventh chords) appear.

Line 261:		Line 255:
	Due to tempering, some chords may be notated in more than one way. For example, the chord I<sub>(gkhj) </sub>, which corresponds to the otonal 10:13:15, is tempered to be the same as i<sub>(cfe)</sub>(the utonal 6:7:9).		Due to tempering, some chords may be notated in more than one way. For example, the chord I<sub>(gkhj) </sub>, which corresponds to the otonal 10:13:15, is tempered to be the same as i<sub>(cfe)</sub>(the utonal 6:7:9).

	~~-----~~		== Chord progressions ==

	~~'''~~Chord progressions~~'''~~

	''Porting'' is the process of translating chord progressions from one tuning system to another. Most chord progressions can be ported in some way, although it's important to note that some commas are not tempered out anymore, and there are chord progressions that close in one tuning (for example: 12-edo) that don't close in another (for example: 19-edo) (so that you will end up one semitone higher or lower than where you started). Most of the time, however, this can easily be remedied. For instance, the [https://en.wikipedia.org/wiki/Coltrane_changes Coltrane changes] no longer work as before because three major thirds do not make an octave. However, a variant can be constructed in which one of the major thirds is replaced with a supermajor third; this version ''does'' close.		''Porting'' is the process of translating chord progressions from one tuning system to another. Most chord progressions can be ported in some way, although it's important to note that some commas are not tempered out anymore, and there are chord progressions that close in one tuning (for example: 12-edo) that don't close in another (for example: 19-edo) (so that you will end up one semitone higher or lower than where you started). Most of the time, however, this can easily be remedied. For instance, the [https://en.wikipedia.org/wiki/Coltrane_changes Coltrane changes] no longer work as before because three major thirds do not make an octave. However, a variant can be constructed in which one of the major thirds is replaced with a supermajor third; this version ''does'' close.

Line 277:		Line 268:
	There are also many new possibilities that don't have any close analogues in 12edo. In general, enneadecimal scales offer more flexibility as well as orders of magnitude more possibilities for chord progressions, due to the greater diversity of both chords and scale degrees.		There are also many new possibilities that don't have any close analogues in 12edo. In general, enneadecimal scales offer more flexibility as well as orders of magnitude more possibilities for chord progressions, due to the greater diversity of both chords and scale degrees.

			{{Navbox notation}}
	{{~~Notation navbox~~}}

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

BudjarnLambeth: {{Notation navbox}}

2024-12-02T23:44:08Z

← Older revision		Revision as of 23:44, 2 December 2024
Line 276:		Line 276:

	There are also many new possibilities that don't have any close analogues in 12edo. In general, enneadecimal scales offer more flexibility as well as orders of magnitude more possibilities for chord progressions, due to the greater diversity of both chords and scale degrees.		There are also many new possibilities that don't have any close analogues in 12edo. In general, enneadecimal scales offer more flexibility as well as orders of magnitude more possibilities for chord progressions, due to the greater diversity of both chords and scale degrees.


			{{Notation navbox}}

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

BudjarnLambeth: Add link to Mason Green

2024-01-21T08:03:40Z

Add link to Mason Green

← Older revision		Revision as of 08:03, 21 January 2024
Line 1:		Line 1:
	This is Mason Green's proposed notation for chord progressions in scales related to:		This is [[Mason Green]]'s proposed notation for chord progressions in scales related to:

	* [[19-edo]] itself (in which the octave is just but the fifth significantly flat).		* [[19-edo]] itself (in which the octave is just but the fifth significantly flat).

Xenwolf: removed redundant inline css styling; fixed one mistake: I# in the table shouldn't be superscript

2022-03-03T17:10:27Z

removed redundant inline css styling; fixed one mistake: I# in the table shouldn't be superscript

← Older revision		Revision as of 17:10, 3 March 2022
Line 36:		Line 36:
	\| Upper bleeding tone		\| Upper bleeding tone
	\| 1#		\| 1#
	\| ~~<sup>~~I#~~</sup>~~		\| I#
	\|-		\|-
	\| 2		\| 2
Line 42:		Line 42:
	\| 15/14, 16/15, 13/12, 14/13		\| 15/14, 16/15, 13/12, 14/13
	\| Upper leading tone		\| Upper leading tone
	\| ~~2<span style="color: #252525; font-family: 'Arial Unicode MS','Lucida Sans Unicode'; font-size: 14px;">♭</span>~~		\| 2♭
	\| ~~II<span style="color: #252525; font-family: 'Arial Unicode MS','Lucida Sans Unicode'; font-size: 14px;">♭</span>~~		\| II♭
	\|-		\|-
	\| 3		\| 3
Line 56:		Line 56:
	\| 7/6, 8/7, 15/13		\| 7/6, 8/7, 15/13
	\| Caesiant		\| Caesiant
	\| 2# ; ~~3<span style="color: #252525; font-family: 'Arial Unicode MS','Lucida Sans Unicode'; font-size: 14px;">♭</span>~~		\| 2# ; 3♭
	\| II# , ~~III<span style="color: #252525; font-family: 'Arial Unicode MS','Lucida Sans Unicode'; font-size: 14px;">♭</span>~~		\| II# , III♭
	\|-		\|-
	\| 5		\| 5
Line 77:		Line 77:
	\| 32/25, 9/7, 13/10		\| 32/25, 9/7, 13/10
	\| Rubric		\| Rubric
	\| 3# , ~~4<span style="color: #252525; font-family: 'Arial Unicode MS','Lucida Sans Unicode'; font-size: 14px;">♭</span>~~		\| 3# , 4♭
	\| III# , ~~IV<span style="color: #252525; font-family: 'Arial Unicode MS','Lucida Sans Unicode'; font-size: 14px;">♭</span>~~		\| III# , IV♭
	\|-		\|-
	\| 8		\| 8
Line 98:		Line 98:
	\| 36/25, 10/7, 13/9		\| 36/25, 10/7, 13/9
	\| Subhygrant		\| Subhygrant
	\| ~~5<span style="color: #252525; font-family: 'Arial Unicode MS','Lucida Sans Unicode'; font-size: 14px;">♭</span>~~		\| 5♭
	\| ~~V<span style="color: #252525; font-family: 'Arial Unicode MS','Lucida Sans Unicode'; font-size: 14px;">♭</span>~~		\| V♭
	\|-		\|-
	\| 11		\| 11
Line 112:		Line 112:
	\| 25/16, 14/9, 20/13		\| 25/16, 14/9, 20/13
	\| Subrubric		\| Subrubric
	\| 5#, ~~6<span style="color: #252525; font-family: 'Arial Unicode MS','Lucida Sans Unicode'; font-size: 14px;">♭</span>~~		\| 5#, 6♭
	\| V#, ~~VI<span style="color: #252525; font-family: 'Arial Unicode MS','Lucida Sans Unicode'; font-size: 14px;">♭</span>~~		\| V#, VI♭
	\|-		\|-
	\| 13		\| 13
Line 140:		Line 140:
	\| 9/5, 16/9		\| 9/5, 16/9
	\| Subtonic		\| Subtonic
	\| ~~7<span style="color: #252525; font-family: 'Arial Unicode MS','Lucida Sans Unicode'; font-size: 14px;">♭</span>~~		\| 7♭
	\| ~~VII<span style="color: #252525; font-family: 'Arial Unicode MS','Lucida Sans Unicode'; font-size: 14px;">♭</span>~~		\| VII♭
	\|-		\|-
	\| 17		\| 17
Line 154:		Line 154:
	\| 27/14, 25/13		\| 27/14, 25/13
	\| Lower bleeding tone		\| Lower bleeding tone
	\| ~~1<span style="color: #252525; font-family: 'Arial Unicode MS','Lucida Sans Unicode'; font-size: 14px;">♭</span>~~		\| 1♭
	\| ~~I<span style="color: #252525; font-family: 'Arial Unicode MS','Lucida Sans Unicode'; font-size: 14px;">♭</span>~~		\| I♭
	\|}		\|}

Line 259:		Line 259:
	\|}		\|}

	~~<span style="font-family: Arial,Helvetica,sans-serif;">~~Due to tempering, some chords may be notated in more than one way. For example, the chord I<~~/span><span style="font-family: Arial,Helvetica,sans-serif; vertical-align:~~ sub;">(gkhj) </~~span><span style="font-family: Arial,Helvetica,sans-serif;">,</span~~>~~<span style="font-family: Arial,Helvetica~~,~~sans-serif;">~~which corresponds to the otonal 10:13:15, is tempered to be the same as i<~~/span><span style="font-family: Arial,Helvetica,sans-serif; vertical-align:~~ sub;">(cfe) </~~span><span style="font-family: Arial,Helvetica,sans-serif;"~~>(the utonal 6:7:9).~~</span>~~		Due to tempering, some chords may be notated in more than one way. For example, the chord I<sub>(gkhj) </sub>, which corresponds to the otonal 10:13:15, is tempered to be the same as i<sub>(cfe)</sub>(the utonal 6:7:9).

	-----		-----

	'''~~<span style="font-family: Arial,Helvetica,sans-serif;">~~Chord progressions~~</span>~~'''		'''Chord progressions'''

	''~~<span style="font-family: Arial,Helvetica,sans-serif;">~~Porting~~</span>~~''~~<span style="font-family: Arial,Helvetica,sans-serif;">~~ is the process of translating chord progressions from one tuning system to another. Most chord progressions can be ported in some way, although it's important to note that some commas are not tempered out anymore, and there are chord progressions that close in one tuning (for example: 12-edo) that don't close in another (for example: 19-edo) (so that you will end up one semitone higher or lower than where you started). Most of the time, however, this can easily be remedied. For instance, the [https://en.wikipedia.org/wiki/Coltrane_changes Coltrane changes] no longer work as before because three major thirds do not make an octave. However, a variant can be constructed in which one of the major thirds is replaced with a supermajor third; this version ''does'' close.~~</span>~~		''Porting'' is the process of translating chord progressions from one tuning system to another. Most chord progressions can be ported in some way, although it's important to note that some commas are not tempered out anymore, and there are chord progressions that close in one tuning (for example: 12-edo) that don't close in another (for example: 19-edo) (so that you will end up one semitone higher or lower than where you started). Most of the time, however, this can easily be remedied. For instance, the [https://en.wikipedia.org/wiki/Coltrane_changes Coltrane changes] no longer work as before because three major thirds do not make an octave. However, a variant can be constructed in which one of the major thirds is replaced with a supermajor third; this version ''does'' close.

	~~<span style="font-family: Arial,Helvetica,sans-serif;">~~Porting the following progressions is trivial:~~</span>~~		Porting the following progressions is trivial:

	* All progressions using only I, IV, and V.		* All progressions using only I, IV, and V.

Xenwolf: simplified most of the markup

2022-03-03T16:58:15Z

simplified most of the markup

Show changes

Bozu: Tried to clean up some of the typos and fixed a few mistakes.

2019-05-02T19:11:33Z

Tried to clean up some of the typos and fixed a few mistakes.

← Older revision		Revision as of 19:11, 2 May 2019
Line 1:		Line 1:
	This is ~~my (~~Mason Green's) proposed notation for chord progressions in scales related to ~~19edo. Scales for which this notation works include~~:		This is Mason Green's proposed notation for chord progressions in scales related to:

	<ul><li>~~19edo~~ itself (in which the octave is just but the fifth significantly flat).</li><li>[[Carlos_Beta\|Carlos Beta]] (in which the just perfect fifth is divided into 11 equal parts, making the octave about 12 cents sharp.</li><li>[[Phoenix\|Phoenix]] (~~my favorite:~~ a compromise between the two in which the just 9:5 interval is divided into 16 equal parts. Thus the octaves and the fifths are both flat but less so than in Carlos beta and 19edo respectively. The octave here is about 9 cents sharp).</li></ul>		<ul><li>[[19-edo]] itself (in which the octave is just but the fifth significantly flat).</li><li>[[Carlos_Beta\|Carlos Beta]] (in which the just perfect fifth is divided into 11 equal parts, making the octave about 12 cents sharp.</li><li>[[Phoenix\|Phoenix]] (a compromise between the two in which the just 9:5 interval is divided into 16 equal parts. Thus the octaves and the fifths are both flat but less so than in Carlos beta and 19edo respectively. The octave here is about 9 cents sharp).</li></ul>

	~~I refer~~ to ~~this notation~~ as "New Common Practice" (NCP) in that it extends the Roman numeral analysis used for common practice to a 19-tone system.		This notation is referred to as "New Common Practice" (NCP), in that it extends the Roman numeral analysis used for common practice to a 19-tone system. It should not be confused with standard Roman Numeral notation, which can also apply to 19-EDO and other tuning methods as well.

	-----		-----
Line 9:		Line 9:
	'''New intervals'''		'''New intervals'''

	~~These scales all temper~~ out the septimal diesis (49:48). Therefore, the septimal whole tone and septimal minor third are combined into the ''same'' interval, which is considered a third in some contexts and a second in others. The same is true for the harmonic seventh, which may be ~~considered either a seventh or a sixth.~~		19-EDO tempers out the septimal diesis (49:48). Some tones can be seen as enharmonically equivalent to other tones

	Designating a particular pitch as the tonal center enables the other notes to be named relative to it. These names, which are independent of the notation used for the actual notes*, are as follows:		Designating a particular pitch as the tonal center enables the other notes to be named relative to it. These names, which are independent of the notation used for the actual notes, are as follows:

	{\| class="wikitable"		{\| class="wikitable"
Line 131:		Line 131:
	\| \| <span style="background-color: #ffffff;">7/4, 12/7, 26/15</span>		\| \| <span style="background-color: #ffffff;">7/4, 12/7, 26/15</span>
	\| \| Subcaesiant		\| \| Subcaesiant
	\| \| 6#~~, 7<span style="background-color: #ffffff; color: #252525; font-family: 'Arial Unicode MS','Lucida Sans Unicode'; font-size: 14px;">♭</span>~~		\| \| 6#
	\| \| VI#~~, VII<span style="background-color: #ffffff; color: #252525; font-family: 'Arial Unicode MS','Lucida Sans Unicode'; font-size: 14px;">♭</span>~~		\| \| VI#
	\|-		\|-
	\| \| 16		\| \| 16
Line 138:		Line 138:
	\| \| <span style="background-color: #ffffff;">9/5, 16/9</span>		\| \| <span style="background-color: #ffffff;">9/5, 16/9</span>
	\| \| Subtonic		\| \| Subtonic
	\| \| 7		\| \| 7<span style="background-color: #ffffff; color: #252525; font-family: 'Arial Unicode MS','Lucida Sans Unicode'; font-size: 14px;">♭</span>
	\| \| VII		\| \| VII<span style="background-color: #ffffff; color: #252525; font-family: 'Arial Unicode MS','Lucida Sans Unicode'; font-size: 14px;">♭</span>
	\|-		\|-
	\| \| 17		\| \| 17
Line 145:		Line 145:
	\| \| <span style="background-color: #ffffff;">15/8, 13/7, 28/15, 24/13</span>		\| \| <span style="background-color: #ffffff;">15/8, 13/7, 28/15, 24/13</span>
	\| \| Lower leading tone		\| \| Lower leading tone
	\| \| 7#		\| \| 7
	\| \| VII#		\| \| VII
	\|-		\|-
	\| \| 18		\| \| 18
Line 170:		Line 170:
	'''Expanding Beyond Triads'''		'''Expanding Beyond Triads'''

	~~In 12edo, triads~~ containing the tonic, mediant (third) and fifth are considered the basic chordal harmonies. Occasionally tetrads (seventh chords) appear ~~but they are wildly out of tune and considered unstable~~.		Triads containing the tonic, mediant (third) and fifth are considered the basic chordal harmonies. Occasionally tetrads (seventh chords) appear.

	In NCP, triads may be considered incomplete depending on the context, and pentads, hexads, and even higher-order chords can appear and sound great. Also, there are ''many'' different possible chords, rather than just the major and minor. As a result, generalizing Roman numeral analysis presents problems.		In NCP, triads may be considered incomplete depending on the context, and pentads, hexads, and even higher-order chords can appear and sound great. Also, there are ''many'' different possible chords, rather than just the major and minor. As a result, generalizing Roman numeral analysis presents problems.

	My solution is to add a string of subscripted lowercase letters to the Roman numeral.		The proposed solution is to add a string of subscripted lowercase letters to the Roman numeral.

	For otonal chords, such as the common major triad and its variants, the first letter denotes the harmonic corresponding to the lowest (bass) note of the chord. The second letter denotes the harmonic corresponding to the highest (treble) note of the chord. The third and subsequent letters (if present) correspond to all the harmonics "skipped" (i. e., not present) between the root and the bass. If there are only two letters, it means that all the (sub)harmonics between the treble and bass (excepting those which are automatically skipped, see below) are present.		For otonal chords, such as the common major triad and its variants, the first letter denotes the harmonic corresponding to the lowest (bass) note of the chord. The second letter denotes the harmonic corresponding to the highest (treble) note of the chord. The third and subsequent letters (if present) correspond to all the harmonics "skipped" (i. e., not present) between the root and the bass. If there are only two letters, it means that all the (sub)harmonics between the treble and bass (excepting those which are automatically skipped, see below) are present.
Line 263:		Line 263:
	'''<span style="font-family: Arial,Helvetica,sans-serif;">Chord progressions</span>'''		'''<span style="font-family: Arial,Helvetica,sans-serif;">Chord progressions</span>'''

	''<span style="font-family: Arial,Helvetica,sans-serif;">Porting</span>''<span style="font-family: Arial,Helvetica,sans-serif;"> is the process of translating chord progressions from ~~12edo~~ to ~~enneadecimal~~. Most chord progressions can be ported in some way, although it's important to note that some commas are not tempered out anymore, and there are chord progressions that close in ~~12edo~~ that don't close in 19 (so that you will end up one semitone higher or lower than where you started). Most of the time, however, this can easily be remedied. For instance, the [https://en.wikipedia.org/wiki/Coltrane_changes Coltrane changes] no longer work as before because three major thirds do not make an octave. However, a variant can be constructed in which one of the major thirds is replaced with a supermajor third; this version ''does'' close.</span>		''<span style="font-family: Arial,Helvetica,sans-serif;">Porting</span>''<span style="font-family: Arial,Helvetica,sans-serif;"> is the process of translating chord progressions from one tuning system to another. Most chord progressions can be ported in some way, although it's important to note that some commas are not tempered out anymore, and there are chord progressions that close in one tuning (for example: 12-edo) that don't close in another (for example: 19-edo) (so that you will end up one semitone higher or lower than where you started). Most of the time, however, this can easily be remedied. For instance, the [https://en.wikipedia.org/wiki/Coltrane_changes Coltrane changes] no longer work as before because three major thirds do not make an octave. However, a variant can be constructed in which one of the major thirds is replaced with a supermajor third; this version ''does'' close.</span>

	<span style="font-family: Arial,Helvetica,sans-serif;">Porting the following progressions is trivial:</span>		<span style="font-family: Arial,Helvetica,sans-serif;">Porting the following progressions is trivial:</span>
Line 269:		Line 269:
	<ul><li>All progressions using only I, IV, and V.</li><li>The circle progression (<span style="text-decoration: overline;">vi</span> - ii- V - I).</li></ul>		<ul><li>All progressions using only I, IV, and V.</li><li>The circle progression (<span style="text-decoration: overline;">vi</span> - ii- V - I).</li></ul>

	~~The following progressions can be ported in more than one way:~~		<ul><li>The 50s progression (I – <span style="text-decoration: overline;">vi</span> - IV - V)</li><li>"Axis of Awesome" (I - V - <span style="text-decoration: overline;">vi </span>- IV).</li><li>Pachelbel's Canon (I - V - <span style="text-decoration: overline;">vi </span>- <span style="text-decoration: overline;">iii </span>- IV - I - IV - V)</li></ul>

	<ul><li>The 50s progression (~~can become~~ I – <span style="text-decoration: overline;">vi</span> ~~- IV - V, or I - vi#~~ - IV - V)</li><li>"Axis of Awesome" (~~can become~~ I - V - <span style="text-decoration: overline;">vi </span>~~- IV, or I - V - vi#~~ - IV).</li><li>Pachelbel (~~several ways, some of which close and some don't~~)</li></ul>

	There are also many new possibilities that don't have any close analogues in 12edo. In general, enneadecimal scales offer more flexibility as well as orders of magnitude more possibilities for chord progressions, due to the greater diversity of both chords and scale degrees.		There are also many new possibilities that don't have any close analogues in 12edo. In general, enneadecimal scales offer more flexibility as well as orders of magnitude more possibilities for chord progressions, due to the greater diversity of both chords and scale degrees.

Bozu: Bozu moved page Chord progressions in 19edo-family scales to Mason Green's New Common Practice Notation: Old title didn't seem to fit (see talk page)

2019-05-02T18:54:10Z

Bozu moved page Chord progressions in 19edo-family scales to Mason Green's New Common Practice Notation: Old title didn't seem to fit (see talk page)

← Older revision	Revision as of 18:54, 2 May 2019
(No difference)

← Older revision		Revision as of 13:44, 31 December 2024
Line 263:		Line 263:
	* The circle progression ({{overline\|vi}} - ii- V - I).		* The circle progression ({{overline\|vi}} - ii- V - I).
	* The 50s progression (I – {{overline\|vi}} - IV - V)		* The 50s progression (I – {{overline\|vi}} - IV - V)
	* "Axis of Awesome" (I - V - {{overline\|vi }}- IV).		* "Axis of Awesome" (I - V - {{overline\|vi}} - IV).
	* Pachelbel's Canon (I - V - {{overline\|vi }}- {{overline\|iii }}- IV - I - IV - V)		* Pachelbel's Canon (I - V - {{overline\|vi}} - {{overline\|iii}} - IV - I - IV - V)

	There are also many new possibilities that don't have any close analogues in 12edo. In general, enneadecimal scales offer more flexibility as well as orders of magnitude more possibilities for chord progressions, due to the greater diversity of both chords and scale degrees.		There are also many new possibilities that don't have any close analogues in 12edo. In general, enneadecimal scales offer more flexibility as well as orders of magnitude more possibilities for chord progressions, due to the greater diversity of both chords and scale degrees.