41edo chord names: Difference between revisions
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Various [[41edo]] triads, 6th and 7th chords, named via [[ups and downs notation]]. Not meant to be exhaustive, but this list does demonstrate the basic rules for naming. | Various [[41edo]] triads, 6th and 7th chords, named via [[ups and downs notation]]. Not meant to be exhaustive, but this list does demonstrate the basic rules for naming. | ||
Highly implausible chords are named as a more plausible [[Chord homonym|homonym]], e.g. | Highly implausible chords are named as a more plausible [[Chord homonym|homonym]], e.g. {{nowrap|0–17–28 = C4(♯5)}} becomes {{nowrap|17–28–41 {{=}} F^m}}, where "a" stands for augmented and "d" stands for diminished. | ||
{| class="wikitable" | {| class="wikitable" | ||
|- | |- | ||
! colspan="2" | | ! colspan="2" | Thirds → | ||
! vm3 | ! vm3 | ||
! m3 | ! m3 | ||
| Line 18: | Line 18: | ||
! ~4 | ! ~4 | ||
|- | |- | ||
! colspan="2" |Triads with P5 | ! colspan="2" | Triads with P5 | ||
| Cvm | | Cvm | ||
| Cm | | Cm | ||
| Line 31: | Line 31: | ||
| C~4 | | C~4 | ||
|- | |- | ||
! rowspan="6" |Other | ! rowspan="6" | Other<br />triads | ||
triads | ! vv5 | ||
!vv5 | | Cvm(vv5) | ||
|Cvm(vv5) | | Cm(vv5) | ||
|Cm(vv5) | | C^m(vv5) | ||
|C^m(vv5) | | C~(vv5) | ||
|C~(vv5) | | Cv(vv5) | ||
|Cv(vv5) | | C(vv5) | ||
|C(vv5) | | C^(vv5) | ||
|C^(vv5) | | Cv4(vv5) | ||
|Cv4(vv5) | | C4(vv5) | ||
|C4(vv5) | | C^4(vv5) | ||
|C^4(vv5) | | C~4(vv5) | ||
|C~4(vv5) | |||
|- | |- | ||
!^b5 | ! ^b5 | ||
|Cvd(^5) | | Cvd(^5) | ||
|Cd(^5) | | Cd(^5) | ||
|C^d(^5) | | C^d(^5) | ||
|C~d(^5) | | C~d(^5) | ||
|Cv(^b5) | | Cv(^b5) | ||
|C(^b5) | | C(^b5) | ||
|C^(^b5) | | C^(^b5) | ||
|Cv4(^b5) | | Cv4(^b5) | ||
|C4(^b5) | | C4(^b5) | ||
|C^4(^b5) | | C^4(^b5) | ||
|C~4(^b5) | | C~4(^b5) | ||
|- | |- | ||
!b5 | ! b5 | ||
|Cvd | | Cvd | ||
|Cd | | Cd | ||
|C^d | | C^d | ||
|C~d | | C~d | ||
|Cv(b5) | | Cv(b5) | ||
|C(b5) | | C(b5) | ||
|C^(b5) | | C^(b5) | ||
|Cv4(b5) | | Cv4(b5) | ||
|C4(b5) | | C4(b5) | ||
|C^4(b5) | | C^4(b5) | ||
|C~4(b5) | | C~4(b5) | ||
|- | |- | ||
!^^5 | ! ^^5 | ||
|''(vAb^)'' | | ''(vAb^)'' | ||
|Cm(^^5) | | Cm(^^5) | ||
|C^m(^^5) | | C^m(^^5) | ||
|C~(^^5) | | C~(^^5) | ||
|Cv(^^5) | | Cv(^^5) | ||
|C(^^5) | | C(^^5) | ||
|C^(^^5) | | C^(^^5) | ||
|Cv4(^^5) | | Cv4(^^5) | ||
|''(Fvm)'' | | ''(Fvm)'' | ||
|C^4(^^5) | | C^4(^^5) | ||
|C~4(^^5) | | C~4(^^5) | ||
|- | |- | ||
!va5 | ! va5 | ||
|Cvm(v#5) | | Cvm(v#5) | ||
|''(Ab)'' | | ''(Ab)'' | ||
|C^m(v#5) | | C^m(v#5) | ||
|C~a(v5) | | C~a(v5) | ||
|''(vEa)'' | | ''(vEa)'' | ||
|Ca(v5) | | Ca(v5) | ||
|C^a(v5) | | C^a(v5) | ||
|Cv4(v#5) | | Cv4(v#5) | ||
|''(Fm)'' | | ''(Fm)'' | ||
|C^4(v#5) | | C^4(v#5) | ||
|C~4(v#5) | | C~4(v#5) | ||
|- | |- | ||
!a5 | ! a5 | ||
|Cvm(#5) | | Cvm(#5) | ||
|Cm(#5) | | Cm(#5) | ||
|''(^Abv)'' | | ''(^Abv)'' | ||
|C~a | | C~a | ||
|Cva | | Cva | ||
|Ca | | Ca | ||
|C^a | | C^a | ||
|Cv4(#5) | | Cv4(#5) | ||
|''(F^m)'' | | ''(F^m)'' | ||
|C^4(#5) | | C^4(#5) | ||
|C~4(#5) | | C~4(#5) | ||
|- | |- | ||
! rowspan="11" |Tetrads | ! rowspan="11" | Tetrads<br />with P5 | ||
with P5 | |||
! ~6 | ! ~6 | ||
| Cvm~6 | | Cvm~6 | ||
| Line 261: | Line 259: | ||
P1-vm3-P5-M7 is named vm,M7 = downminor add major 7. One might think that the "add" could be omitted, and it could be named vmM7. But there's a rule that in a 7th chord, an initial arrow affects both the 3rd and the 7th. So vmM7 is a minor-major chord with both the 3rd and 7th downed, i.e. P1-vm3-P5-vM7. | P1-vm3-P5-M7 is named vm,M7 = downminor add major 7. One might think that the "add" could be omitted, and it could be named vmM7. But there's a rule that in a 7th chord, an initial arrow affects both the 3rd and the 7th. So vmM7 is a minor-major chord with both the 3rd and 7th downed, i.e. P1-vm3-P5-vM7. | ||
See also | == See also == | ||
* [[15edo chord names]] | * [[15edo chord names]] | ||
* [[19edo chord names]] | * [[19edo chord names]] | ||
| Line 269: | Line 266: | ||
* [[31edo chord names]] | * [[31edo chord names]] | ||
* [[Kite Guitar chord shapes (downmajor tuning)]] | * [[Kite Guitar chord shapes (downmajor tuning)]] | ||
The last link is fairly exhaustive, and covers augmented and diminished chords. | The last link is fairly exhaustive, and covers augmented and diminished chords. | ||
Latest revision as of 14:14, 4 February 2025
Various 41edo triads, 6th and 7th chords, named via ups and downs notation. Not meant to be exhaustive, but this list does demonstrate the basic rules for naming.
Highly implausible chords are named as a more plausible homonym, e.g. C4(♯5) becomes 17–28–41 = F^m, where "a" stands for augmented and "d" stands for diminished.
| Thirds → | vm3 | m3 | ^m3 | ~3 | vM3 | M3 | ^M3 | v4 | P4 | ^4 | ~4 | |
|---|---|---|---|---|---|---|---|---|---|---|---|---|
| Triads with P5 | Cvm | Cm | C^m | C~ | Cv | C | C^ | Cv4 | C4 | C^4 | C~4 | |
| Other triads |
vv5 | Cvm(vv5) | Cm(vv5) | C^m(vv5) | C~(vv5) | Cv(vv5) | C(vv5) | C^(vv5) | Cv4(vv5) | C4(vv5) | C^4(vv5) | C~4(vv5) |
| ^b5 | Cvd(^5) | Cd(^5) | C^d(^5) | C~d(^5) | Cv(^b5) | C(^b5) | C^(^b5) | Cv4(^b5) | C4(^b5) | C^4(^b5) | C~4(^b5) | |
| b5 | Cvd | Cd | C^d | C~d | Cv(b5) | C(b5) | C^(b5) | Cv4(b5) | C4(b5) | C^4(b5) | C~4(b5) | |
| ^^5 | (vAb^) | Cm(^^5) | C^m(^^5) | C~(^^5) | Cv(^^5) | C(^^5) | C^(^^5) | Cv4(^^5) | (Fvm) | C^4(^^5) | C~4(^^5) | |
| va5 | Cvm(v#5) | (Ab) | C^m(v#5) | C~a(v5) | (vEa) | Ca(v5) | C^a(v5) | Cv4(v#5) | (Fm) | C^4(v#5) | C~4(v#5) | |
| a5 | Cvm(#5) | Cm(#5) | (^Abv) | C~a | Cva | Ca | C^a | Cv4(#5) | (F^m) | C^4(#5) | C~4(#5) | |
| Tetrads with P5 |
~6 | Cvm~6 | Cm~6 | C^m~6 | C~6 | Cv,~6 | C,~6 | C^,~6 | Cv4~6 | C4~6 | C^4~6 | C~4~6 |
| vM6 | Cvm6 | Cmv6 | C^mv6 | C~v6 | Cv6 | C,v6 | C^v6 | Cv4v6 | C4v6 | C^4v6 | C~4v6 | |
| M6 | Cvm,6 | Cm6 | C^m,6 | C~,6 | Cv,6 | C6 | C^,6 | Cv4,6 | C4,6 | C^4,6 | C~4,6 | |
| ^M6 | Cvm^6 | Cm^6 | C^m6 | C~^6 | Cv^6 | C,^6 | C^6 | Cv4^6 | C4^6 | C^4^6 | C~4^6 | |
| vm7 | Cvm7 | Cmv7 | C^mv7 | C~v7 | Cv7 | C,v7 | C^v7 | Cv4v7 | C4v7 | C^4v7 | C~4v7 | |
| m7 | Cvm,7 | Cm7 | C^m,7 | C~,7 | Cv,7 | C7 | C^,7 | Cv4,7 | C4,7 | C^4,7 | C~4,7 | |
| ^m7 | Cvm^7 | Cm^7 | C^m7 | C~^7 | Cv^7 | C,^7 | C^7 | Cv4^7 | C4^7 | C^4^7 | C~4^7 | |
| ~7 | Cvm~7 | Cm~7 | C^m~7 | C~7 | Cv,~7 | C,~7 | C^,~7 | Cv4~7 | C4~7 | C^4~7 | C~4~7 | |
| vM7 | CvmM7 | CmvM7 | C^mvM7 | C~vM7 | CvM7 | C,vM7 | C^vM7 | Cv4vM7 | C4vM7 | C^4vM7 | C~4vM7 | |
| M7 | Cvm,M7 | CmM7 | C^m,M7 | C~M7 | Cv,M7 | CM7 | C^,M7 | Cv4M7 | C4M7 | C^4M7 | C~4M7 | |
| ^M7 | Cvm^M7 | Cm^M7 | C^mM7 | C~^M7 | Cv^M7 | C,^M7 | C^M7 | Cv4^M7 | C4^M7 | C^4^M7 | C~4^M7 | |
A punctuation comma (",") is spoken as "add", thus Cv,7 is "C-down add-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.
P1-vm3-P5-M7 is named vm,M7 = downminor add major 7. One might think that the "add" could be omitted, and it could be named vmM7. But there's a rule that in a 7th chord, an initial arrow affects both the 3rd and the 7th. So vmM7 is a minor-major chord with both the 3rd and 7th downed, i.e. P1-vm3-P5-vM7.
See also
- 15edo chord names
- 19edo chord names
- 22edo chord names
- 24edo chord names
- 31edo chord names
- Kite Guitar chord shapes (downmajor tuning)
The last link is fairly exhaustive, and covers augmented and diminished chords.