Xenharmonic Wiki

User:Moremajorthanmajor/TAMNAMS Extension: Difference between revisions

← Older edit
VisualWikitext
ArrowHead294 (talk | contribs)
15,213 edits
mNo edit summary
 
(24 intermediate revisions by one other user not shown)
Line 152: Line 152:
|onyx, arch(a)eotonic
|onyx, arch(a)eotonic
|1A 7B, 6A 7B
|1A 7B, 6A 7B
|antipine, pine; archeochromatic
|antipine, pine; atetarquintal, tetarquintal
|-
|-
|[[2L 4s]]
|[[2L 4s]]
Line 867: Line 867:
|-
|-
|1L 7s
|1L 7s
|anastaic
|anashtaic
|No
|No
|anast-
|anasht-
|aast
|aasht
|-
|-
|2L 6s
|2L 6s
Line 903: Line 903:
|-
|-
|7L 1s
|7L 1s
|astaic
|ashtaic
|No
|No
|ast-
|asht-
|ast
|asht
|-
|-
! colspan="5" |9-note mosses
! colspan="5" |9-note mosses
Line 1,032: Line 1,032:
With 7-note mosses, there are three pairs of mosses, whose names are based on three languages: Greek, Latin, and Sanskrit. The pair 5L 2s and 2L 5s are given the Greek-based name of '''heptic''', as 5L 2s is the familiar diatonic scale. The next pair, 3L 4s and 4L 3s, are given the Latin-based name of '''septenic'''. The last pair, 1L 6s and 6L 1s, are given the Sanskrit-based name of '''saptic''.'''''
With 7-note mosses, there are three pairs of mosses, whose names are based on three languages: Greek, Latin, and Sanskrit. The pair 5L 2s and 2L 5s are given the Greek-based name of '''heptic''', as 5L 2s is the familiar diatonic scale. The next pair, 3L 4s and 4L 3s, are given the Latin-based name of '''septenic'''. The last pair, 1L 6s and 6L 1s, are given the Sanskrit-based name of '''saptic''.'''''


This pattern is continued for all successive sequences of mosses for each successive note count: 1L ns and nL 1s are given a Sanskrit-based name, the next single-period pair after that are given a Greek-based name, and the next single-period pair after that are given a Latin-based name. The two 8-note pairs are named '''astaic''' (7L 1s and 1L 7s) and '''octic''' (5L 3s and 3L 5s) respectively. The three 9-note pairs are named '''navic''' (8L 1s and 1L 8s), '''ennaic''' (7L 2s and 2L 7s), and '''novemic''' (4L 5s and 5L 4s). Finally the two 10-note pairs are named '''dashic''' (9L 1s and 1L 9s) and '''dekic''' (7L 3s and 3L 7s).
This pattern is continued for all successive sequences of mosses for each successive note count: 1L ns and nL 1s are given a Sanskrit-based name, the next single-period pair after that are given a Greek-based name, and the next single-period pair after that are given a Latin-based name. The two 8-note pairs are named '''ashtaic''' (7L 1s and 1L 7s) and '''octic''' (5L 3s and 3L 5s) respectively. The three 9-note pairs are named '''navic''' (8L 1s and 1L 8s), '''ennaic''' (7L 2s and 2L 7s), and '''novemic''' (4L 5s and 5L 4s). Finally the two 10-note pairs are named '''dashic''' (9L 1s and 1L 9s) and '''dekic''' (7L 3s and 3L 7s).


11-note mosses require naming five pairs, so this naming scheme stops at 10-note mosses.
11-note mosses require naming five pairs, so this naming scheme stops at 10-note mosses.
Line 1,038: Line 1,038:
Since the equivalence interval can be anything, names for multi-period mosses are named as a smaller mos repeated (double, triple, quadruple, etc) some number of times. The prefix and abbreviation of the base mos is preceded by the number of duplications. For example, 2L 2s is double trivial, its prefix is 2triv-, and its abbreviation is 2trv.
Since the equivalence interval can be anything, names for multi-period mosses are named as a smaller mos repeated (double, triple, quadruple, etc) some number of times. The prefix and abbreviation of the base mos is preceded by the number of duplications. For example, 2L 2s is double trivial, its prefix is 2triv-, and its abbreviation is 2trv.


===Non-octave twins of diatonic===
===Non-octave twins of diatonic ===
{| class="wikitable"
{| class="wikitable"
|+
|+
Line 1,049: Line 1,049:
!Reasoning or ideas
!Reasoning or ideas
|-
|-
|1L 1s <6/5, 7/6><ref name=":1">Detemperament of diminished temperament</ref>
|1L 1s <32/27, 6/5, 7/6, etc.><ref name=":1">Partial detemperament of diminished temperament</ref>
|
|dorianic[2], aeolianic[2], phrygianic[2], locrianic[2]
|
|dor-, aeol-, phryg-, locri-,
|
|dor, aeol, phryg, locri
|
|
|-
|-
Line 1,063: Line 1,063:
!Reasoning or ideas
!Reasoning or ideas
|-
|-
|1L 2s <5/4, 9/7>
|1L 2s <81/64, 5/4, 9/7 (21/16), etc.>*
|
|Second magitonic or mystic antrial
|
| colspan="2" rowspan="2" |use compound
|
| rowspan="2" |Linear combination of undivided major third and equal multiples of whole tone, by analogy with magic temperament having a major third generator
|
|-
|2L 1s <81/64, 5/4, 9/7 (21/16), etc.>*
|Second magitonic or mystic trial
|-
|-
|2L 1s <4/3>
|2L 1s <4/3>
|
|ionianic[4]
|
|ion-
|
|ion
|
|“Perfect” fourth is the characteristic interval of Ionian (major) mode
|-
|-
! colspan="5" |4-note mosses
! colspan="5" |4-note mosses
Line 1,083: Line 1,085:
!Reasoning or ideas
!Reasoning or ideas
|-
|-
|2L 2s <7/5, 10/7><ref name=":1" />
|1L 3s<729/512, 1024/729, 25/18 (45/32), 36/25 (64/45), 7/5 (49/36), 10/7 (72/49), 3/2, etc.><ref>Partial detemperament of subaric temperament</ref>*
|
|(hard) lydianic antetric
|
| colspan="2" |use compound
|
|Linear combination of Lydian tetrachord and undivided tritone, analogous to 3:1 step ratio of hard mosses
|
|-
|2L 2s <729/512, 1024/729, 25/18 (45/32), 64/45, 7/5, 10/7 (72/49), 4/3, etc.><ref name=":1" />
|locrianic
|locri-
|locri-
|Locrian tritone is a diminished fifth
|-
|3L 1s<1024/729, 25/18 (45/32), 36/25 (64/45), 7/5 (49/36), 10/7 (72/49), etc.><ref>Partial detemperament of hedgehog temperament</ref>*
|(hard) lydianic tetric
| colspan="2" |use compound
|Linear combination of Lydian tetrachord and undivided tritone, analogous to 3:1 step ratio of hard mosses
|-
|-
|3L 1s <3/2>
|3L 1s <3/2>
|antineptunian
|phrygianic[4], (hard) lydianic tetric
|anept-
|phryg-
|anep
|phryg
|Mason Green proposes angelic specifically for the instance of this mos within 12L 4s <5/1>
|“Perfect” fifth is the characteristic interval of Phrygian mode
Lydian pentachord is analogous to major scale
 
Mason Green proposes angelic specifically for the instance of this mos within 12L 4s <5/1>
 
antineptunian (prefix anept-, abbrev. anep) is by analogy with 1L 3s neptunian
|-
|-
! colspan="5" |5-note mosses
! colspan="5" |5-note mosses
Line 1,103: Line 1,120:
!Reasoning or ideas
!Reasoning or ideas
|-
|-
|3L 2s <8/5, 14/9>
|1L 4s <augmented fifth>*
|aeolianic
|indopedal
|aeol-
| colspan="2" |use compound
|aeol
|Linear combination of Hindu pentachord and undivided augmented fifth
|Commonly invoked as Aeolian (natural minor) hexacbord
|-
|2L 3s <diminished sixth>*
|Micro-pentic
| colspan="2" |use compound
|
|-
|3L 2s <128/81, 8/5, 14/9 (32/21), etc.>
|aeolianic, phrygianic[5]
|aeol-, phryg-
|aeol, phryg
|Commonly invoked as Aeolian (natural minor) hexachord
Phrygian hexachord is analogous to major scale
|-
|4L 1s <augmented fifth>*
|indomanual
| colspan="2" |use compound
|Linear combination of Hindu pentachord and undivided augmented fifth
|-
|-
|4L 1s <5/3, 12/7>
|4L 1s <27/16, 5/3, 12/7, etc.>
|dorianic
|dorianic[5]
|dor-
|dor-
|dor
|dor
Line 1,123: Line 1,156:
!Reasoning or ideas
!Reasoning or ideas
|-
|-
|3L 3s <5/3, 12/7><ref name=":1" />
|3L 3s <diminished seventh><ref name=":1" />
|
|
|
|
Line 1,129: Line 1,162:
|
|
|-
|-
|4L 2s <9/5, 7/4>
|1L 5s <15/8, 27/14 (63/32), 9/5, 7/4, 27/16, 5/3, 12/7, etc.>*
|
|Neapolitan-antimachinoid
|
| colspan="2" |use compound
|
|Linear combination of Neapolitan hexachord and undivided augmented sixth
|
|-
|4L 2s <9/5, 7/4, etc.><ref name=":0" />
|mixolydianic, dorianic[6]
|mixo-, dor-
|mixo, dor
|Minor seventh is the characteristic interval of Mixolydian mode
Dorian heptachord is analogous to major scale
|-
|5L 1s <16/9, 9/5, 7/4, 27/16, 5/3, 12/7, etc.>*
|Neapolitan-machinoid
| colspan="2" |use compound
|Linear combination of Neapolitan hexachord and undivided augmented sixth
|-
|-
|5L 1s <15/8, 27/14>
|5L 1s <243/128, 15/8, 27/14 (63/32), etc.>
|ionianic
|ionianic[6], lydianic[6]
|ion-
|ion-, lyd-
|ion
|ion, lyd
|Commonly invoked as Ionian (major) heptacbord
|Commonly invoked as Ionian (major) heptachord
|-
|-
! colspan="5" |8-note mosses
! colspan="5" |8-note mosses
Line 1,149: Line 1,193:
!Reasoning or ideas
!Reasoning or ideas
|-
|-
|5L 3s <15/7, 21/10>
|4L 4s<diminished ninth>*<ref name=":1" /><ref name=":0" />
|diminished
|dimi-
|dimi-
|coincidentally references scale closing at a diminished ninth
|-
|5L 3s <512/243, 32/15, 56/27, etc.>
|Neapolitan-oneirotonic
|Neapolitan-oneirotonic
| colspan="2" |use compound
| colspan="2" |use compound
|Neapolitan 6/9 scales appear just above oneirotonic proper
|Neapolitan 6/9 scales appear just above oneirotonic proper
|-
|-
|6L 2s <20/9, 16/7><ref name=":0">Major tempered variants</ref>
|6L 2s <20/9, 16/7, etc.><ref name=":0">Major tempered variants</ref>
|napolitonic
|napolitonic
|nap-
|nap-
Line 1,160: Line 1,210:
|Translates minor triad to Neapolitan sixth
|Translates minor triad to Neapolitan sixth
|-
|-
! colspan="5" |9-note mosses
! colspan="5" |9-note mosses (Dominant Seventh Scales)
|-
|-
!Mos
!Mos
Line 1,168: Line 1,218:
!Reasoning or ideas
!Reasoning or ideas
|-
|-
|6L 3s <12/5, 7/3><ref name=":0" />
|6L 3s <12/5, 7/3, etc.><ref name=":0" />
|mahuric
|mahuric
|mahu-
|mahu-
|mahu
|mahu
|Regularisation of Persian/Arabic Mahur scale
|Regularisation of Maqam Mahur scale
|-
|-
|7L 2s <5/2, 18/7>
|7L 2s <81/16, 5/2, 18/7 (21/8), etc.>
|
|armodecadic
|
|ardec-
|
|ard(e)
|In reference to Terra Rubra temperament, already-existing name armotonic could be modified to armodecadic to make affix ardec-, ard(e) via translation (Terra = Du aarde, Ar ‘ard)
|In reference to Terra Rubra temperament, makes affix via translation (Terra = Du aarde, Ar ‘ard)
|-
|-
! colspan="5" |10-note mosses
! colspan="5" |10-note mosses
Line 1,189: Line 1,239:
|-
|-
|7L 3s <8/3>
|7L 3s <8/3>
|choralic
|choralic (Major)
|chor-
| rowspan="2" |chor-
|chor
| rowspan="2" |chor
|More transparent of two given names, references how it puts triads in four parts
| rowspan="2" |More transparent of two given names, references how it puts triads in four parts
|-
|-
|8L 2s <14/5, 20/7><ref name=":0" />
|8L 2s <2048/729, 45/16, 72/25 (128/45), 14/5 (49/18), 20/7 (144/49), 3/1, etc.><ref name=":0" />
|
|choralic (Lydian)*
|
|
|
|-
|-
! colspan="5" |11-note mosses
! colspan="5" |11-note mosses (Dominant Ninth Scales)
|-
|-
!Mos
!Mos
Line 1,208: Line 1,255:
!Reasoning or ideas
!Reasoning or ideas
|-
|-
|7L 4s <14/5, 20/7>
|7L 4s <729/256, 2048/729, 25/9 (45/16), 72/25 (128/45), 14/5 (49/18), 20/7 (144/49), 8/3, etc.,><ref name=":0" />
|
|Obikhodic (Locrian)*
|
| rowspan="2" |obi-
|
| rowspan="2" |obi
|
| rowspan="2" |In reference to Russian Orthodox Obikhod chants
|-
|-
|8L 3s <3/1>
|8L 3s <3/1>
|Obikhodic
|Obikhodic (Phrygian)
|obi-
|obi
|In reference to Russian Orthodox Obikhod chants
|-
|-
! colspan="5" |12-note mosses
! colspan="5" |12-note mosses
Line 1,228: Line 1,272:
!Reasoning or ideas
!Reasoning or ideas
|-
|-
|8L 4s <16/5, 28/9><ref name=":0" />
|7L 5s <3/1, 729/256, 2048/729, 25/9 (45/16), 72/25 (128/45), 14/5 (49/18), 20/7 (144/49), 8/3, 16/5, 28/9 (64/21), etc.*>*
|m-chromatic bastonic
|
|
|
|
|
|bastonic is actually the macro-tetrawood temperament in a thirteenth (one of the '''four''' “Spanish” suits is  '''wood'''en batons, or ''bastos'' in Spanish)
|Canonical macrochromatic scale
|-
|-
|9L 3s <10/3, 24/7><ref name=":0" />
|8L 4s <256/81, 16/5, 28/9 (64/21), etc.><ref name=":0" />
|m-chromatic bastonic
|
|
|
|
|bastonic is actually the macro-tetrawood temperament in a thirteenth (one of the '''four''' “Spanish” suits is '''wood'''en batons, or ''bastos'' in Spanish)
|-
|9L 3s <27/8, 10/3, 24/7, etc.><ref name=":0" />
|ivanimajiangic
|
|
|
|
|majiangic is actually the macro-tcherepnin temperament in a thirteenth (mahjong tiles have 3 1-9 suits)
|-
|-
! colspan="5" |13-note mosses
! colspan="5" |13-note mosses (Dominant Eleventh Scales)
|-
|-
!Mos
!Mos
Line 1,248: Line 1,298:
!Reasoning or ideas
!Reasoning or ideas
|-
|-
|8L 5s <10/3, 24/7>
|8L 5s <diminished fourteenth>
|
|
|
|
Line 1,254: Line 1,304:
|
|
|-
|-
|9L 4s <18/5, 7/2>
|9L 4s <32/9, 18/5, 7/2, etc.>
|shōsūsoid
|shōsūshoid
|shō-
|shō-
|shō
|shō
|References Japanese mahjong rules
|References Japanese mahjong rules
|-
|-
|10L 3s <15/4, 27/7>
|10L 3s <243/64, 15/4, 27/7 (63/16), etc.>
|
|
|
|
Line 1,266: Line 1,316:
|
|
|-
|-
! colspan="5" |15-note mosses
! colspan="5" |15-note mosses (Dominant Thirteenth Scales)
|-
|-
!Mos
!Mos
Line 1,274: Line 1,324:
!Reasoning or ideas
!Reasoning or ideas
|-
|-
|10L 5s <21/5, 30/7><ref name=":0" />
|10L 5s <1024/243, 64/15, 112/27, etc.><ref name=":0" />
|
|
|
|
Line 1,280: Line 1,330:
|
|
|-
|-
|11L 4s <9/2>
|11L 4s <9/2, 40/9, 32/7, etc.>
|
|
|
|
Line 1,294: Line 1,344:
!Reasoning or ideas
!Reasoning or ideas
|-
|-
|11L 5s <24/5, 14/3>
|11L 5s <128/27, 24/5, 14/3, etc.>
|
|
|
|
Line 1,300: Line 1,350:
|
|
|-
|-
|12L 4s <5/1, 36/7><ref name=":0" />
|12L 4s <81/16, 5/1, 36/7 (21/4), etc.><ref name=":0" />
|
|quasiangelic
|
|qang-
|
|qang
|
|In reference to Mason Green’s angelic generating 12L 4s <5/1>
|-
|-
! colspan="5" |17-note mosses
! colspan="5" |17-note mosses
Line 1,318: Line 1,368:
|
|
|
|
|Canonical macroenharmonic scale
|Canonical heptadecatonic macroenharmonic scale
|-
|-
|13L 4s <28/5, 40/7>
|13L 4s <729/128, 4096/729, 50/9 (45/8), 144/25 (256/45), 28/5 (49/9), 40/7 (288/49), 6/1, etc.>
|
|subsextal[17]
|
|sub6-
|
|sub6-
|
|In reference to its period being under the sixth harmonic
|-
|-
! colspan="5" |18-note mosses
! colspan="5" |18-note mosses
Line 1,334: Line 1,384:
!Reasoning or ideas
!Reasoning or ideas
|-
|-
|12L 6s <28/5, 40/7><ref name=":0" />
|12L 6s <729/128, 4096/729, 50/9 (45/8), 256/45, 28/5, 40/7 (288/49), 16/3, etc.><ref name=":0" />
|
|subsextal[18]
|
|sub6-
|
|sub6-
|
|In reference to its period being under the sixth harmonic
|-
|-
|13L 5s <6/1>
|13L 5s <6/1>
|
|daseianic
|
|asper-
|
|asp-
|In reference to daseian notation, 13L 5s <6/1> could be named daseianic
|In reference to daseian notation
|-
|-
! colspan="5" |19-note mosses
! colspan="5" |19-note mosses
Line 1,354: Line 1,404:
!Reasoning or ideas
!Reasoning or ideas
|-
|-
|13L 6s <32/5, 56/9>
|12L 7s <diminished twentieth><ref name=":0" />
|
|
|
|Canonical enneadecatonic macroenharmonic scale
|-
|13L 6s <512/81, 32/5, 56/9 (128/21), etc.>
|
|
|
|
Line 1,360: Line 1,416:
|
|
|-
|-
|14L 5s <20/3, 48/7>
|14L 5s <27/4, 20/3, 48/7, etc.>
|
|
|
|
Line 1,374: Line 1,430:
!Reasoning or ideas
!Reasoning or ideas
|-
|-
|13L 7s <20/3, 48/7>
|13L 7s <diminished twenty-first>
|
|Guidotonic (diminished)
|
| rowspan="3" |guido-
|
| rowspan="3" |guid-
|In reference to the Guidonian hand, 13L 7s <20/3, 48/7> could be named guidotonic diminished
| rowspan="3" |In reference to the Guidonian hand
|-
|-
|14L 6s <36/5, 7/1><ref name=":0" />
|14L 6s <36/5, 7/1, etc.><ref name=":0" />
|
|Guidotonic (dominant)
|
|
|In reference to the Guidonian hand, 14L 6s <36/5, 7/1> could be named guidotonic minor
|-
|-
|15L 5s <15/2, 54/7><ref name=":0" />
|15L 5s <243/32, 15/2, 54/7 (63/8), etc.><ref name=":0" />
|
|Guidotonic (major)
|
|
|In reference to the Guidonian hand, 15L 5s <15/2, 54/7> could be named guidotonic major
|-
|-
! colspan="5" |22-note mosses
! colspan="5" |22-note mosses
Line 1,400: Line 1,450:
!Reasoning or ideas
!Reasoning or ideas
|-
|-
|15L 7s <42/5, 60/7>
|15L 7s <2048/243, 128/15, 224/27, etc.>
|
|
|
|
Line 1,406: Line 1,456:
|
|
|-
|-
|16L 6s <80/9, 64/7><ref name=":0" />
|16L 6s <80/9, 64/7, etc.><ref name=":0" />
|
|
|
|
|
|
|
|
|-
|17L 5s <augmented twenty-third>*
|
|
|
|Canonical macroprotofractalic macrosubchromatic scale
|-
|-
! colspan="5" |23-note mosses
! colspan="5" |23-note mosses
Line 1,420: Line 1,476:
!Reasoning or ideas
!Reasoning or ideas
|-
|-
|16L 7s <48/5, 28/3>
|16L 7s <256/27, 48/5, 28/3, etc.>
|
|
|
|
Line 1,426: Line 1,482:
|
|
|-
|-
|17L 6s <10/1, 96/7>
|17L 6s <81/8, 10/1, 72/7 (21/2), etc.>
|
|archangelic
|
|
|
|
|
|17L 6s <10/1> is the canonical decimal pitch scale
|-
|-
! colspan="5" |24-note mosses
! colspan="5" |24-note mosses
Line 1,441: Line 1,497:
|-
|-
|17L 7s <32/3>
|17L 7s <32/3>
|tressettine
|
|
|
|
|
|In reference to Tressette scoring counting the whole deck as 10⅔ points
|
|-
|-
|18L 6s <56/5, 80/7><ref name=":0" />
|18L 6s <8192/729, 100/9 (45/4), 288/25 (512/45), 56/5 (98/9), 80/7 (576/49), 12/1, etc.><ref name=":0" />
|
|hendecoidal[24]
|
|hendec-
|
|hendec-
|
|From Greek "eleven", references 18L 6s <11/1>.
|-
|-
! colspan="5" |25-note mosses
! colspan="5" |25-note mosses
Line 1,460: Line 1,516:
!Reasoning or ideas
!Reasoning or ideas
|-
|-
|19L 6s <56/5, 80/7>
|19L 6s <729/64, 8192/729, 100/9 (45/4), 288/25 (512/45), 56/5 (98/9), 80/7 (576/49), 32/3, etc.>
|
|hendecoidal[25]
|
|hendec-
|
|hendec-
|
|From Greek "eleven", references 19L 6s <11/1>.
|-
|-
|18L 7s <12/1>
|18L 7s <12/1>
Line 1,480: Line 1,536:
!Reasoning or ideas
!Reasoning or ideas
|-
|-
|18L 8s <64/5, 112/9><ref name=":0" />
|18L 8s <64/5, 112/9 (256/21), etc.><ref name=":0" />
|
|Petrushkatonic (minor)
|
| rowspan="2" |petrushka-
|
| rowspan="2" |petru-
|
| rowspan="2" |In reference to the “27th chord” which appears in Stravinsky’s ''Petrushka''
|-
|19L 7s <27/2, 40/3, 96/7, etc.>
|Petrushkatonic (major)
|}
 
=== Secondary names for tritone-equivalent mosses ===
{| class="wikitable"
|+
|-
! colspan="5" |5-note mosses <tritone>
|-
!Mos
!Name (if given)
!Prefix
!Abbrev.
!Reasoning or ideas
|-
|2L 3s<7/5, 10/7, 11/8*><ref>Partial detemperament of lime temperaments </ref>
|(soft) lydianic pentic
| colspan="2" rowspan="2" |use compound
| rowspan="2" |Linear combination of Lydian tetrachord and equal multiples of sesquitone, analogous to 3:2 step ratio of soft mosses
|-
|-
|19L 7s <40/3, 96/7>
|3L 2s<7/5, 10/7, 11/8*><ref>Partial detemperament of lemon temperaments</ref>
|
|(soft) lydianic anpentic
|
|
|
|}
|}


Line 1,517: Line 1,591:
!Abbrev.
!Abbrev.
!Reasoning or ideas
!Reasoning or ideas
|-
|2L 3s
|saturnian
|sat-
|sat
|Name proposed by CompactStar, analogous to uranian
|-
|-
|3L 2s
|3L 2s
Line 1,576: Line 1,656:
!''k''th descendant
!''k''th descendant
|-
|-
|From [[Diatonic, Chromatic, Enharmonic, Subchromatic]]
|From [[diatonic, chromatic, enharmonic, subchromatic]]
|n/a
|n/a
|n/a
|n/a
Retrieved from "https://en.xen.wiki/w/User:Moremajorthanmajor/TAMNAMS_Extension"