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41edo chord names: Difference between revisions

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Various [[41edo]] 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.
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. {{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"
|+
!
!vm3
!m3
!^m3
!~3
!vM3
!M3
!^M3
!v4
!P4
!^4
!~4
|-
|-
!triad
! colspan="2" | Thirds →
|Cvm
! vm3
|Cm
! m3
|C^m
! ^m3
|C~
! ~3
|Cv
! vM3
|C
! M3
|C^
! ^M3
|Cv4
! v4
|C4
! P4
|C^4
! ^4
|C~4
! ~4
|-
! colspan="2" | Triads with P5
| Cvm
| Cm
| C^m
| C~
| Cv
| C
| C^
| Cv4
| C4
| C^4
| C~4
|-
|-
!~6
! rowspan="6" | Other<br />triads
|Cvm~6
! vv5
|Cm~6
| Cvm(vv5)
|C^m~6
| Cm(vv5)
|C~6
| C^m(vv5)
|Cv,~6
| C~(vv5)
|C,~6
| Cv(vv5)
|C^,~6
| C(vv5)
|Cv4~6
| C^(vv5)
|C4~6
| Cv4(vv5)
|C^4~6
| C4(vv5)
|C~4~6
| C^4(vv5)
| C~4(vv5)
|-
|-
!vM6
! ^b5
|Cvm6
| Cvd(^5)
|Cmv6
| Cd(^5)
|C^mv6
| C^d(^5)
|C~v6
| C~d(^5)
|Cv6
| Cv(^b5)
|C,v6
| C(^b5)
|C^v6
| C^(^b5)
|Cv4v6
| Cv4(^b5)
|C4v6
| C4(^b5)
|C^4v6
| C^4(^b5)
|C~4v6
| C~4(^b5)
|-
|-
!M6
! b5
|Cvm,6
| Cvd
|Cm6
| Cd
|C^m,6
| C^d
|C~,6
| C~d
|Cv,6
| Cv(b5)
|C6
| C(b5)
|C^,6
| C^(b5)
|Cv4,6
| Cv4(b5)
|C4,6
| C4(b5)
|C^4,6
| C^4(b5)
|C~4,6
| C~4(b5)
|-
|-
!^M6
! ^^5
|Cvm^6
| ''(vAb^)''
|Cm^6
| Cm(^^5)
|C^m6
| C^m(^^5)
|C~^6
| C~(^^5)
|Cv^6
| Cv(^^5)
|C,^6
| C(^^5)
|C^6
| C^(^^5)
|Cv4^6
| Cv4(^^5)
|C4^6
| ''(Fvm)''
|C^4^6
| C^4(^^5)
|C~4^6
| C~4(^^5)
|-
|-
!vm7
! va5
|Cvm7
| Cvm(v#5)
|Cmv7
| ''(Ab)''
|C^mv7
| C^m(v#5)
|C~v7
| C~a(v5)
|Cv7
| ''(vEa)''
|C,v7
| Ca(v5)
|C^v7
| C^a(v5)
|Cv4v7
| Cv4(v#5)
|C4v7
| ''(Fm)''
|C^4v7
| C^4(v#5)
|C~4v7
| C~4(v#5)
|-
|-
!m7
! a5
|Cvm,7
| Cvm(#5)
|Cm7
| Cm(#5)
|C^m,7
| ''(^Abv)''
|C~,7
| C~a
|Cv,7
| Cva
|C7
| Ca
|C^,7
| C^a
|Cv4,7
| Cv4(#5)
|C4,7
| ''(F^m)''
|C^4,7
| C^4(#5)
|C~4,7
| C~4(#5)
|-
|-
!^m7
! rowspan="11" | Tetrads<br />with P5
|Cvm^7
! ~6
|Cm^7
| Cvm~6
|C^m7
| Cm~6
|C~^7
| C^m~6
|Cv^7
| C~6
|C,^7
| Cv,~6
|C^7
| C,~6
|Cv4^7
| C^,~6
|C4^7
| Cv4~6
|C^4^7
| C4~6
|C~4^7
| C^4~6
| C~4~6
|-
|-
!~7
! vM6
|Cvm~7
| Cvm6
|Cm~7
| Cmv6
|C^m~7
| C^mv6
|C~7
| C~v6
|Cv,~7
| Cv6
|C,~7
| C,v6
|C^,~7
| C^v6
|Cv4~7
| Cv4v6
|C4~7
| C4v6
|C^4~7
| C^4v6
|C~4~7
| C~4v6
|-
|-
!vM7
! M6
|CvmvM7
| Cvm,6
(CvmM?)
| Cm6
|CmvM7
| C^m,6
|C^mvM7
| C~,6
|C~vM7
| Cv,6
|CvM7
| C6
|C,vM7
| C^,6
|C^vM7
| Cv4,6
|Cv4vM7
| C4,6
|C4vM7
| C^4,6
|C^4vM7
| C~4,6
|C~4vM7
|-
|-
!M7
! ^M6
|CvmM7
| Cvm^6
|CmM7
| Cm^6
(CmM?)
| C^m6
|C^mM7
| C~^6
|C~M7
| Cv^6
|Cv,M7
| C,^6
|CM7
| C^6
|C^,M7
| Cv4^6
|Cv4M7
| C4^6
|C4M7
| C^4^6
|C^4M7
| C~4^6
|C~4M7
|-
|-
!^M7
! vm7
|Cvm^M7
| Cvm7
|Cm^M7
| Cmv7
|C^m^M7
| C^mv7
(C^mM?)
| C~v7
|C~^M7
| Cv7
|Cv^M7
| C,v7
|C,^M7
| C^v7
|C^M7
| Cv4v7
|Cv4^M7
| C4v7
|C4^M7
| C^4v7
|C^4^M7
| C~4v7
|C~4^M7
|-
! 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 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. C^,~6 is clear without a comma if limiting oneself to 41edo. However, 53-edo and other edos have an upmid 3rd and 7th, and C^~6 would be P1 ^~3 P5 ^~6. In addition, "upmid" is a general term for slightly sharp neutral. One could play an upmid chord on a [[Kite guitar]] by bending the upminor 3rd up slightly more than half a fret.
 
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 chords#Ups and downs notation|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.


[[Category:Kite Guitar]]
[[Category:Kite Guitar]]
[[Category:41edo]]
[[Category:41edo]]
[[Category:Chords]]
[[Category:Ups and downs notation]]
[[Category:Notation]]
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