19edo chords: Difference between revisions

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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.
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 7 ([[7/6]], [[7/4]], [[27/14]]) quite well. This essentially means that normal chords – like in 12edo – can be represented nicely in 19edo.
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]].
Despite that [[enharmonic equivalence]] works differently in 19edo, pitches can be written down with [[Chain-of-fifths notation|standard notation]].
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Note that the cent values of the intervals are approximated. For detailed numbers, see [[19edo]].
Note that the cent values of the intervals are approximated. For detailed numbers, see [[19edo]].
{| class="wikitable"
{| class="wikitable"
|-
! Chord name
! Chord name
! Symbol
! Symbol
Line 30: Line 31:
|-
|-
| Supermajor,<br />Major sharp 3
| Supermajor,<br />Major sharp 3
| Csmaj, C(♯3), Cmaj(♯3)
| Csmaj, Csaj, CS, C(♯3), Cmaj(♯3)
| C–E#–G
| C–E♯–G
| 0–7–11
| 0–7–11
| 0–442–695
| 0–442–695
Line 37: Line 38:
|-
|-
| Subminor,<br />Minor flat 3
| Subminor,<br />Minor flat 3
| Csmin, Cmin(♭3)
| Csmin, Csin, Cs, Cmin(♭3)
| C–E𝄫–G
| C–E𝄫–G
| 0–4–11
| 0–4–11
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| [[File:Cdim (19-EDO).mp3|frameless]]
| [[File:Cdim (19-EDO).mp3|frameless]]
|-
|-
| Augmented
| Harmonic diminished,
| Caug, C+
Otonal diminished
| Cm(𝄫5), Cmin(𝄫5), Cd+
| C–E♭–G𝄫
| 0–5–9
| 0–316–568
| {{Todo|inline=1| add audio }}
|-
| Augmented, Magic
| Caug, C+, CJ
| C–E–G♯
| C–E–G♯
| 0–6–12
| 0–6–12
Line 77: Line 86:
=== Major chords ===
=== Major chords ===
{| class="wikitable"
{| class="wikitable"
|-
! Chord name
! Chord name
! Symbol
! Symbol
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|-
|-
| Major seventh
| Major seventh
| Cmaj7
| Cmaj7, CM7
| C–E–G–B
| C–E–G–B
| 0–6–11–17
| 0–6–11–17
Line 98: Line 108:
| [[File:C7 (19-EDO).mp3|frameless]]
| [[File:C7 (19-EDO).mp3|frameless]]
|-
|-
| Harmonic seventh
| Harmonic seventh,
| Ch7
Major subminor seventh
| Ch7, C(s7), C(𝄫7)
| C–E–G–B𝄫
| C–E–G–B𝄫
| 0–6–11–15
| 0–6–11–15
Line 105: Line 116:
| [[File:Ch7 (19-EDO).mp3|frameless]]
| [[File:Ch7 (19-EDO).mp3|frameless]]
|-
|-
| Sixth
| Major sixth
| C6
| C6
| C–E–G–A
| C–E–G–A
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=== Minor chords ===
=== Minor chords ===
{| class="wikitable"
{| class="wikitable"
|-
! Chord name
! Chord name
! Symbol
! Symbol
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|-
|-
| Minor major seventh
| Minor major seventh
| Cmmaj7
| Cmmaj7, CmM7
| 0-5-11-17
| 0-5-11-17
| 0-316-695-1074
| 0-316-695-1074
| [[File:Cmmaj7 (19-EDO).mp3|frameless]]
| [[File:Cmmaj7 (19-EDO).mp3|frameless]]
|-
|-
| Minor augmented six
| Minor augmented sixth
| Cm+6
| Cm+6, Cm(S6), Cm(♯6)
| 0-5-11-15
| 0-5-11-15
| 0-316-695-947
| 0-316-695-947
| [[File:Cm+6 (19-EDO).mp3|frameless]]
| [[File:Cm+6 (19-EDO).mp3|frameless]]
|-
|-
| Minor six
| Minor sixth
| Cm6
| Cm6
| 0-5-11-14
| 0-5-11-14
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=== Supermajor chords ===
=== Supermajor chords ===
{| class="wikitable"
{| class="wikitable"
|-
! Chord name
! Chord name
! Symbol
! Symbol
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|-
|-
| Supermajor seventh
| Supermajor seventh
| Csmaj7, Cmaj7(♯3, ♯7)
| Csmaj7, Csaj7, CS(S7), Cmaj7(♯3, ♯7)
| 0-7-11-18
| 0-7-11-18
| 0-442-695-1137
| 0-442-695-1137
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=== Subminor chords ===
=== Subminor chords ===
{| class="wikitable"
{| class="wikitable"
|-
! Chord name
! Chord name
! Symbol
! Symbol
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|-
|-
| Subminor seventh
| Subminor seventh
| Csmin7, Cmin7(♭3, ♭7)
| Csmin7, Csin7, Cs(s7), Cs(𝄫7), Cmin7(♭3, ♭7)
| 0-4-11-15
| 0-4-11-15
| 0-253-695-947
| 0-253-695-947
Line 190: Line 204:
! Audio
! Audio
|-
|-
| Diminished seven<br>(fully diminished)
| Diminished seventh<br>(fully diminished)
| Cdim7, C°7
| Cdim7, C°7
| 0-5-10-15
| 0-5-10-15
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=== Augmented chords ===
=== Augmented chords ===
{| class="wikitable"
{| class="wikitable"
|-
! Chord name
! Chord name
! Symbol
! Symbol
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! Audio
! Audio
|-
|-
| Augmented seven
| Augmented seven, Magic seven
| Caug7, C+7, C7♯5
| Caug(7), CJ(7), C+(7), C7(♯5)
| 0-6-12-16
| 0-6-12-16
| 0-379-758-1011
| 0-379-758-1011
| [[File:Caug7 (19-EDO).mp3|frameless]]
| [[File:Caug7 (19-EDO).mp3|frameless]]
|-
|-
| Major seven sharp five
| Supermajor seven sharp five, Magic supermajor seventh, Magic sharp seven, Augmented sharp seven, Augmented supermajor seventh, Major sharp five sharp seven
| Cmaj7♯5
| Csmaj7(♯5), Csaj7(♯5), CJ(S7), Caug(♯7), Cmaj(♯5, ♯7)
| 0-6-12-18
| 0-6-12-18
| 0-379-758-1137
| 0-379-758-1137
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== Pentads (ninth chords) ==
== Pentads (ninth chords) ==
=== Major chords ===
=== Major chords ===
=== Major chords ===
=== Major chords ===
{| class="wikitable"
{| class="wikitable"
|-
! Chord name
! Chord name
! Symbol
! Symbol
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|-
|-
| Major ninth
| Major ninth
| Cmaj9
| Cmaj9, CM9
| 0-6-11-17-22
| 0-6-11-17-22
| 0-379-695-1074-1389
| 0-379-695-1074-1389
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| [[File:C7b9 (19-EDO).mp3| frameless]]
| [[File:C7b9 (19-EDO).mp3| frameless]]
|-
|-
| Harmonic ninth
| Harmonic ninth,
| Ch9
Major subminor seven nine
| Ch9, C(s7, 9), C(𝄫7, 9)
| 0-6-11-15-22
| 0-6-11-15-22
| 0-379-695-947-1389
| 0-379-695-947-1389
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|-
|-
| Harmonic seven flat nine
| Harmonic seven flat nine
| Ch7(♭9)
Major subminor seven flat nine
| Ch7(♭9), C(s7, ♭9), C(𝄫7, ♭9)
| 0-6-11-15-21
| 0-6-11-15-21
| 0-379-695-947-1326
| 0-379-695-947-1326
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== Ups and downs notation ==
== 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.
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"
{| class="wikitable"
|+
!
!d3
!m3
!M3
!A3
!P4
|-
|-
!triad
! colspan="2" |third ---->
|C(d3)
! d3
|Cm
! m3
|C
! M3
|C(A3)
! a3/d4
|C4
! 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)
|-
|-
!M6
!a5
|C6(d3)
|''G#(a3)''
|Cm6
|''G#a(a3)''
|C6
|Ca
|C6(A3)
|Ca(a3)
|C4,6
|''F(d3)''
|-
|-
!A6
! rowspan="5" |Tetrads
with a
 
P5
! M6
| C6(d3)
| Cm6
| C6
| C6(a3)
| C4,6
|-
! A6
d7
d7
|C(d3)A6
| C(d3)#6
C(d3)d7
C(d3)d7
|CmA6
| Cm#6
Cmd7
Cmd7
|C,A6
| C,#6
C,d7
C,d7
|C(A3)A6
| C(a3)#6
C(A3)d7
C(a3)d7
|C4A6
| C4#6
C4d7
C4d7
|-
|-
!m7
! m7
|C7(d3)
| C7(d3)
|Cm7
| Cm7
|C7
| C7
|C7(A3)
| C7(a3)
|C4,7
| C4,7
|-
|-
!M7
! M7
|CM7(d3)
| CM7(d3)
|CmM7
| CmM7
|CM7
| CM7
|CM7(A3)
| CM7(a3)
|C4M7
| C4M7
|-
|-
!A7
! A7
|CA7(d3)
| Ca7(d3)
|CmA7
| Cm#7
|C,A7
| C,#7
|C(A3)A7
| C(a3)#7
|C4A7
| 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.  
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.
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"
{| class="wikitable"
|+
!chord
!notes
! colspan="2" |ups and downs name
! colspan="2" |color name
|-
|-
|4:5:6:7
! Chord
|C E G Bbb
! Notes
|C add-dim-7
! colspan="2" | Ups and downs name
|C,d7
! colspan="2" | Color name
|C har7
|-
|Ch7
| 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
|-
|-
|7/6/5/4
| 12:10:8:7
|C Ebb Gbb Bbb
| C Eb G A#
|C dim-3 dim-7 double-dim5
| C minor sharp-6
|C(d3)d7(dd5)
| Cm#6
|C sub7
| C sub6
|Cs7
| Cs6
|-
|-
|12/10/8/7
|9:7:6:5:4
|C Eb G A#
|C E# G Bb D
|C minor aug-6
|C nine aug-3
|CmA6
|C9(a3)
|C sub6
|Csub9
|Cs6
|Cs9
|}
|}


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


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

Latest revision as of 21:18, 18 December 2025

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 standard notation.

Triads

Note that the cent values of the intervals are approximated. For detailed numbers, see 19edo.

Chord name Symbol Notes Steps Cents Audio
Major C C–E–G 0–6–11 0–379–695
Minor Cm, Cmin C–E♭–G 0–5–11 0–316–695
Supermajor,
Major sharp 3 		Csmaj, Csaj, CS, C(♯3), Cmaj(♯3) C–E♯–G 0–7–11 0–442–695
Subminor,
Minor flat 3 		Csmin, Csin, Cs, Cmin(♭3) C–E𝄫–G 0–4–11 0–253–695
Sus4 Csus4 C–F–G 0–8–11 0–505–695
Sus2 Csus2 C–D–G 0–3–11 0–189–695
Diminished Cdim, C° C–E♭–G♭ 0–5–10 0–316–632
Harmonic diminished,

Otonal diminished

Cm(𝄫5), Cmin(𝄫5), Cd+ C–E♭–G𝄫 0–5–9 0–316–568
Todo: add audio
Augmented, Magic Caug, C+, CJ C–E–G♯ 0–6–12 0–379–758

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

Chord name Symbol Notes Steps Cents Audio
Major seventh Cmaj7, CM7 C–E–G–B 0–6–11–17 0–379–695–1074
Dominant seventh C7 C–E–G–B♭ 0–6–11–16 0–379–695–1011
Harmonic seventh,

Major subminor seventh

Ch7, C(s7), C(𝄫7) C–E–G–B𝄫 0–6–11–15 0–379–695–947
Major sixth C6 C–E–G–A 0–6–11–14 0–379–695–884

Minor chords

Chord name Symbol Steps Cents Audio
Minor seventh Cm7 0-5-11-16 0-316-695-1011
Minor major seventh Cmmaj7, CmM7 0-5-11-17 0-316-695-1074
Minor augmented sixth Cm+6, Cm(S6), Cm(♯6) 0-5-11-15 0-316-695-947
Minor sixth Cm6 0-5-11-14 0-316-695-884
Minor seven flat six (NT aeolian seven) Cm7(♭6) [Faeol7] 0-5-13-16 0-316-821-1011

Supermajor chords

Chord name Symbol Steps Cents Audio
Supermajor seventh Csmaj7, Csaj7, CS(S7), Cmaj7(♯3, ♯7) 0-7-11-18 0-442-695-1137

Subminor chords

Chord name Symbol Steps Cents Audio
Subminor seventh Csmin7, Csin7, Cs(s7), Cs(𝄫7), Cmin7(♭3, ♭7) 0-4-11-15 0-253-695-947

Diminished chords

Chord name Symbol Steps Cents Audio
Diminished seventh
(fully diminished) 		Cdim7, C°7 0-5-10-15 0-316-632-947
Minor seven flat five
(half-diminished) 		Cm7(♭5), Cø7 0-5-10-16 0-316-632-1011

Augmented chords

Chord name Symbol Steps Cents Audio
Augmented seven, Magic seven Caug(7), CJ(7), C+(7), C7(♯5) 0-6-12-16 0-379-758-1011
Supermajor seven sharp five, Magic supermajor seventh, Magic sharp seven, Augmented sharp seven, Augmented supermajor seventh, Major sharp five sharp seven Csmaj7(♯5), Csaj7(♯5), CJ(S7), Caug(♯7), Cmaj(♯5, ♯7) 0-6-12-18 0-379-758-1137

Pentads (ninth chords)

Major chords

Major chords

Chord name Symbol Steps Cents Audio
Major ninth Cmaj9, CM9 0-6-11-17-22 0-379-695-1074-1389
Dominant ninth C9 0-6-11-16-22 0-379-695-1011-1389
Dominant seven flat nine C7(♭9) 0-6-11-16-21 0-379-695-1011-1326
Harmonic ninth,

Major subminor seven nine

Ch9, C(s7, 9), C(𝄫7, 9) 0-6-11-15-22 0-379-695-947-1389
Harmonic seven flat nine

Major subminor seven flat nine

Ch7(♭9), C(s7, ♭9), C(𝄫7, ♭9) 0-6-11-15-21 0-379-695-947-1326

Ups and downs notation

Various 19edo triads, 6th and 7th chords, named via 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 homonym, e.g. 0-8-12 = C4(a5) becomes 8-12-19 = F(d3). "a" stands for augmented and "d" stands for diminished.

third ----> d3 m3 M3 a3/d4 P4
Triads with P5 C(d3) Cm C C(a3) C4
Other

triads

d5 Cd(d3) Cd C(b5) C(a3b5) C4(b5)
a5 G#(a3) G#a(a3) Ca Ca(a3) F(d3)
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.

Chord Notes Ups and downs name 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

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