Mason Green's New Common Practice Notation: Difference between revisions
simplified most of the markup |
ArrowHead294 (talk | contribs) mNo edit summary |
||
| (6 intermediate revisions by 3 users not shown) | |||
| Line 1: | Line 1: | ||
This is Mason Green's proposed notation for chord progressions in scales related to: | This is [[Mason Green]]'s proposed notation for chord progressions in scales related to: | ||
* [[19-edo]] itself (in which the octave is just but the fifth significantly flat). | * [[19-edo]] itself (in which the octave is just but the fifth significantly flat). | ||
| Line 6: | Line 6: | ||
This notation is referred to as "New Common Practice" (NCP), in that it extends the Roman numeral analysis used for common practice to a 19-tone system. It should not be confused with standard Roman Numeral notation, which can also apply to 19-EDO and other tuning methods as well. | This notation is referred to as "New Common Practice" (NCP), in that it extends the Roman numeral analysis used for common practice to a 19-tone system. It should not be confused with standard Roman Numeral notation, which can also apply to 19-EDO and other tuning methods as well. | ||
__FORCETOC__ | |||
== New intervals == | |||
19-EDO tempers out the large septimal diesis (49:48). Some tones can be seen as enharmonically equivalent to other tones. | |||
19-EDO tempers out the septimal diesis (49:48). Some tones can be seen as enharmonically equivalent to other tones | |||
Designating a particular pitch as the tonal center enables the other notes to be named relative to it. These names, which are independent of the notation used for the actual notes, are as follows: | Designating a particular pitch as the tonal center enables the other notes to be named relative to it. These names, which are independent of the notation used for the actual notes, are as follows: | ||
| Line 17: | Line 14: | ||
{| class="wikitable" | {| class="wikitable" | ||
|- | |- | ||
! Number of steps | ! rowspan="3" | Number of steps | ||
! Interval name | ! rowspan="3" | Interval name | ||
! | ! rowspan="3" | JI intervals represented | ||
! Scale degree | ! colspan="3" | Scale degree | ||
! | |- | ||
! | ! rowspan="2" | Name | ||
! colspan="2" | Symbol | |||
|- | |||
! Number | |||
! Roman numeral | |||
|- | |- | ||
| 0 | | 0 | ||
| Unison | | Unison | ||
| 1 | | 1/1 | ||
| Tonic | | Tonic | ||
| 1 | | 1 | ||
| Line 35: | Line 36: | ||
| 25/24, 21/20, 28/27, 26/25, 27/26 | | 25/24, 21/20, 28/27, 26/25, 27/26 | ||
| Upper bleeding tone | | Upper bleeding tone | ||
| | | 1♯ | ||
| | | I♯ | ||
|- | |- | ||
| 2 | | 2 | ||
| Line 42: | Line 43: | ||
| 15/14, 16/15, 13/12, 14/13 | | 15/14, 16/15, 13/12, 14/13 | ||
| Upper leading tone | | Upper leading tone | ||
| | | 2♭ | ||
| | | II♭ | ||
|- | |- | ||
| 3 | | 3 | ||
| Line 56: | Line 57: | ||
| 7/6, 8/7, 15/13 | | 7/6, 8/7, 15/13 | ||
| Caesiant | | Caesiant | ||
| | | 2♯ ; 3♭ | ||
| | | II♯ , III♭ | ||
|- | |- | ||
| 5 | | 5 | ||
| Line 70: | Line 71: | ||
| 5/4, 16/13, 26/21 | | 5/4, 16/13, 26/21 | ||
| Major mediant | | Major mediant | ||
| | | {{overline|3}} | ||
| | | {{overline|III}} | ||
|- | |- | ||
| 7 | | 7 | ||
| Line 77: | Line 78: | ||
| 32/25, 9/7, 13/10 | | 32/25, 9/7, 13/10 | ||
| Rubric | | Rubric | ||
| | | 3♯, 4♭ | ||
| | | III♯ , IV♭ | ||
|- | |- | ||
| 8 | | 8 | ||
| Line 91: | Line 92: | ||
| 25/18, 7/5, 18/13 | | 25/18, 7/5, 18/13 | ||
| Hygrant | | Hygrant | ||
| | | 4♯ | ||
| | | IV♯ | ||
|- | |- | ||
| 10 | | 10 | ||
| Line 98: | Line 99: | ||
| 36/25, 10/7, 13/9 | | 36/25, 10/7, 13/9 | ||
| Subhygrant | | Subhygrant | ||
| | | 5♭ | ||
| | | V♭ | ||
|- | |- | ||
| 11 | | 11 | ||
| Line 112: | Line 113: | ||
| 25/16, 14/9, 20/13 | | 25/16, 14/9, 20/13 | ||
| Subrubric | | Subrubric | ||
| | | 5♯, 6♭ | ||
| | | V♯, VI♭ | ||
|- | |- | ||
| 13 | | 13 | ||
| Line 126: | Line 127: | ||
| 5/3 | | 5/3 | ||
| Major submediant | | Major submediant | ||
| | | {{overline|6}} | ||
| | | {{overline|VI}} | ||
|- | |- | ||
| 15 | | 15 | ||
| Line 133: | Line 134: | ||
| 7/4, 12/7, 26/15 | | 7/4, 12/7, 26/15 | ||
| Subcaesiant | | Subcaesiant | ||
| | | 6♯ | ||
| | | VI♯ | ||
|- | |- | ||
| 16 | | 16 | ||
| Line 140: | Line 141: | ||
| 9/5, 16/9 | | 9/5, 16/9 | ||
| Subtonic | | Subtonic | ||
| | | 7♭ | ||
| | | VII♭ | ||
|- | |- | ||
| 17 | | 17 | ||
| Line 154: | Line 155: | ||
| 27/14, 25/13 | | 27/14, 25/13 | ||
| Lower bleeding tone | | Lower bleeding tone | ||
| | | 1♭ | ||
| | | I♭ | ||
|} | |} | ||
| Line 168: | Line 169: | ||
As a result, the requirement of diatonicity is dropped and the whole 19-note gamut is accessible. There are therefore no "modes" in NCP, since all notes and chords are defined solely by their relationship to the tonic (the "home key"). This opens unusual possibilities, such as mixing major and minor tonality in the same composition. | As a result, the requirement of diatonicity is dropped and the whole 19-note gamut is accessible. There are therefore no "modes" in NCP, since all notes and chords are defined solely by their relationship to the tonic (the "home key"). This opens unusual possibilities, such as mixing major and minor tonality in the same composition. | ||
== Expanding beyond triads == | |||
Triads containing the tonic, mediant (third) and fifth are considered the basic chordal harmonies. Occasionally tetrads (seventh chords) appear. | Triads containing the tonic, mediant (third) and fifth are considered the basic chordal harmonies. Occasionally tetrads (seventh chords) appear. | ||
| Line 259: | Line 257: | ||
|} | |} | ||
Due to tempering, some chords may be notated in more than one way. For example, the chord I<sub>(gkhj) </sub>, which corresponds to the otonal 10:13:15, is tempered to be the same as i<sub>(cfe)</sub>(the utonal 6:7:9). | |||
'' | == Chord progressions == | ||
''Porting'' is the process of translating chord progressions from one tuning system to another. Most chord progressions can be ported in some way, although it's important to note that some commas are not tempered out anymore, and there are chord progressions that close in one tuning (for example: 12-edo) that don't close in another (for example: 19-edo) (so that you will end up one semitone higher or lower than where you started). Most of the time, however, this can easily be remedied. For instance, the [https://en.wikipedia.org/wiki/Coltrane_changes Coltrane changes] no longer work as before because three major thirds do not make an octave. However, a variant can be constructed in which one of the major thirds is replaced with a supermajor third; this version ''does'' close. | |||
Porting the following progressions is trivial: | |||
* All progressions using only I, IV, and V. | * All progressions using only I, IV, and V. | ||
* The circle progression ( | * The circle progression ({{overline|vi}} - ii- V - I). | ||
* The 50s progression (I – | * The 50s progression (I – {{overline|vi}} - IV - V) | ||
* "Axis of Awesome" (I - V - | * "Axis of Awesome" (I - V - {{overline|vi}} - IV). | ||
* Pachelbel's Canon (I - V - | * Pachelbel's Canon (I - V - {{overline|vi}} - {{overline|iii}} - IV - I - IV - V) | ||
There are also many new possibilities that don't have any close analogues in 12edo. In general, enneadecimal scales offer more flexibility as well as orders of magnitude more possibilities for chord progressions, due to the greater diversity of both chords and scale degrees. | There are also many new possibilities that don't have any close analogues in 12edo. In general, enneadecimal scales offer more flexibility as well as orders of magnitude more possibilities for chord progressions, due to the greater diversity of both chords and scale degrees. | ||
{{Navbox notation}} | |||
[[Category:19edo]] | [[Category:19edo]] | ||