15edo chord names: Difference between revisions

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Various [[15edo]] 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 major 6th and the minor 7th are the same interval, and chords that use that interval can be named as either a 6th chord or a 7th chord. Likewise a sus2 chord is also a minor triad.
Various [[15edo]] 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 major 6th and the minor 7th are the same interval, and chords that use that interval can be named as either a 6th chord or a 7th chord. Likewise a sus2 chord is also a minor triad.


Highly implausible chords are written as a more plausible [[Chord homonym|homonym]], e.g. 0-6-10 = C4(^5) becomes 6-10-15 = F^m. "d" stands for dim.
Highly implausible chords are written as a more plausible [[Chord homonym|homonym]], e.g. 0-6-10 = C4(^5) becomes 6-10-15 = F^m. "d" stands for dim.
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{| class="wikitable"
{| class="wikitable"
|-
|-
! colspan="2" |third ---->
! colspan="2" | Third →
!M2/m3
! M2/m3
!^m3
! ^m3
!vM3
! vM3
!P4
! P4
!^4
! ^4
|-
|-
! rowspan="5" |Triads
! colspan="2" | Triads with P5
!P5
| C2 or Cm
|C2 or Cm
| C^m
|C^m
| Cv
|Cv
| C4
|C4
| C^4
|C^4
|-
|-
!v5
! rowspan="4" | Other triads
|C2(v5)
! v5
|C^m(v5)
| C2(v5)
|Cv(v5)
| C^m(v5)
|C4(v5)
| Cv(v5)
|C^4(v5)
| C4(v5)
| C^4(v5)
|-
|-
!^d5
! ^d5
|C2(^b5)
| C2(^b5)
|C^d(^5)
| C^d(^5)
|Cv(^b5)
| Cv(^b5)
|C4(^b5)
| C4(^b5)
|''(^F5)''
| ''(^F5)''
|-
|-
!d5
! d5
|Cd
| Cd
|C^d
| C^d
|Cv(b5)
| Cv(b5)
|''(F5)''
| ''(F5)''
|''C4(^b5)''
| ''C4(^b5)''
|-
|-
!^5
! ^5
|C2(^5)
| C2(^5)
|''(^Gv)''
| ''(^Gv)''
|Cv(^5)
| Cv(^5)
|''(F^m)''
| ''(F^m)''
|C^4(^5)
| C^4(^5)
|-
|-
! rowspan="4" |Tetrads
! rowspan="4" | Tetrads<br />with P5
with a
! vM6
 
| C2v6
P5
| C^mv6
!vM6
| Cv6
|C2v6
| C4v6
|C^mv6
| C^4v6
|Cv6
|C4v6
|C^4v6
|-
|-
!M6
! M6<br />m7
m7
| C2,6<br />Cm7
|C2,6
| C^m,6<br />C^m,7
Cm7
| Cv,6<br />Cv,7
|C^m,6
| C4,6<br />C4,7
C^m,7
| C^4,6<br />C^4,7
|Cv,6
Cv,7
|C4,6
C4,7
|C^4,6
C^4,7
|-
|-
!^m7
! ^m7
|Cm^7
| Cm^7
|C^m7
| C^m7
|Cv^7
| Cv^7
|C4^7
| C4^7
|C^4^7
| C^4^7
|-
|-
!vM7
! vM7
|CmvM7
| CmvM7
|C^mvM7
| C^mvM7
|CvM7
| CvM7
|C4vM7
| C4vM7
|C^4vM7
| C^4vM7
|}
|}


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{| class="wikitable"
{| class="wikitable"
|-
|-
!Chord
! Chord
!Notes
! Notes
! colspan="2" |Ups and downs name
! colspan="2" | Ups and downs name
! colspan="2" |Color name
! colspan="2" | Color name
|-
|-
|4:5:6:7
| 4:5:6:7
|C vE G Bb
| C vE G Bb
|C down add-7
| C down add-7
|Cv,7
| Cv,7
|C har7
| C har7
|Ch7
| Ch7
|-
|-
|7:6:5:4
| 4:5:6:7:9
|C Eb ^Gb Bb
| C vE G Bb D
|C minor-7 upflat-5
| C-nine down-3
|Cm7(^b5)
| C9(v3)
|C sub7
| C har9
|Cs7
| Ch9
|-
|-
|12:10:8:7
| 7:6:5:4
|C ^Eb G A
| C Eb ^Gb Bb
|C upminor add-6
| C minor-7 upflat-5
|C^m,6
| Cm7(^b5)
|C sub6
| C sub7
|Cs6
| Cs7
|-
|-
|9:7:6:5:4
| 12:10:8:7
|C E G ^Bb D
| C ^Eb G A
|C nine up-7
| C upminor add-6
|C9(^7)
| C^m,6
|C sub9
| C sub6
|Cs9
| Cs6
|-
| 9:7:6:5:4
| C E G ^Bb D
| C-nine up-7
| C9(^7)
| C sub9
| Cs9
|}
|}
==See also==
 
*[[19edo chord names]]
== See also ==
*[[24edo chord names]]
* [[19edo 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:15edo]]
[[Category:15edo]]

Latest revision as of 01:07, 20 August 2025

Various 15edo 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 major 6th and the minor 7th are the same interval, and chords that use that interval can be named as either a 6th chord or a 7th chord. Likewise a sus2 chord is also a minor triad.

Highly implausible chords are written as a more plausible homonym, e.g. 0-6-10 = C4(^5) becomes 6-10-15 = F^m. "d" stands for dim.

Third → M2/m3 ^m3 vM3 P4 ^4
Triads with P5 C2 or Cm C^m Cv C4 C^4
Other triads v5 C2(v5) C^m(v5) Cv(v5) C4(v5) C^4(v5)
^d5 C2(^b5) C^d(^5) Cv(^b5) C4(^b5) (^F5)
d5 Cd C^d Cv(b5) (F5) C4(^b5)
^5 C2(^5) (^Gv) Cv(^5) (F^m) C^4(^5)
Tetrads
with P5 		vM6 C2v6 C^mv6 Cv6 C4v6 C^4v6
M6
m7 		C2,6
Cm7 		C^m,6
C^m,7 		Cv,6
Cv,7 		C4,6
C4,7 		C^4,6
C^4,7
^m7 Cm^7 C^m7 Cv^7 C4^7 C^4^7
vM7 CmvM7 C^mvM7 CvM7 C4vM7 C^4vM7

A comma (the actual punctuation mark ",") 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.

4:5:6:7 = C vE G Bb is named C down add-7. 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 vE G Bb C down add-7 Cv,7 C har7 Ch7
4:5:6:7:9 C vE G Bb D C-nine down-3 C9(v3) C har9 Ch9
7:6:5:4 C Eb ^Gb Bb C minor-7 upflat-5 Cm7(^b5) C sub7 Cs7
12:10:8:7 C ^Eb G A C upminor add-6 C^m,6 C sub6 Cs6
9:7:6:5:4 C E G ^Bb D C-nine up-7 C9(^7) C sub9 Cs9

See also

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