Hemififths/Chords: Difference between revisions

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A striking feature of these hemififths chords is that essentially just chords tend to be of higher complexity than essentially tempered chords. Hemififths has MOS of size 7, 10, 17 and 24, and even seven notes are well-supplied with chords, mostly but by no means entirely essentially tempered chords. Extending consideration to the 13-limit adds even more such chords.

Chords are named with ups and downs. The tilde ~ means mid, half-way between major and minor. ~4 = ^4 = vA4. The comma (the actual punctuation mark) is pronounced "add", thus C~,7 is "C mid add 7". To facilitate chord naming, lifts and drops are also used. Enharmonic equivalences: vvA1 and v\m2. Cents: ^1 = 50¢ + 3.5c and /1 = 50¢ - 8.5c, where c = the amount in cents the tempered fifth exceeds 700¢. /1 = ~81/80 = ~64/63 and ^1 = ~33/32. To convert to 41edo, ^1 = 2\41 and /1 = 1\41.

Chords are named with ups and downs, using pergen #4 (P8, P5/2) in the [http://tallkite.com/misc_files/notation%20guide%20for%20rank-2%20pergens.pdf notation guide for rank-2 pergens]. One up is 7 generators. The tilde ~ means mid, half-way between major and minor. ~4 = ^4 = vA4 and ~5 = v5 = ^d5. The comma (the actual punctuation mark) is pronounced "add", thus C~,7 is "C mid add 7". To facilitate chord naming, lifts and drops are also used. Enharmonic equivalences: vvA1 and v\m2. Cents: ^1 = 50¢ + 3.5c and /1 = 50¢ - 8.5c, where c = the amount in cents the tempered fifth exceeds 700¢. /1 = ~81/80 = ~64/63 and ^1 = ~33/32. To convert to 41edo, ^1 = 2\41 and /1 = 1\41.

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 A striking feature of these hemififths chords is that essentially just chords tend to be of higher complexity than essentially tempered chords. Hemififths has MOS of size 7, 10, 17 and 24, and even seven notes are well-supplied with chords, mostly but by no means entirely essentially tempered chords. Extending consideration to the 13-limit adds even more such chords.
-Chords are named with ups and downs. The tilde ~ means mid, half-way between major and minor. ~4 = ^4 = vA4. The comma (the actual punctuation mark) is pronounced "add", thus C~,7 is "C mid add 7". To facilitate chord naming, lifts and drops are also used. Enharmonic equivalences: vvA1 and v\m2. Cents: ^1 = 50¢ + 3.5c and /1 = 50¢ - 8.5c, where c = the amount in cents the tempered fifth exceeds 700¢. /1 = ~81/80 = ~64/63 and ^1 = ~33/32. To convert to 41edo, ^1 = 2\41 and /1 = 1\41.
+Chords are named with ups and downs, using pergen #4 (P8, P5/2) in the [http://tallkite.com/misc_files/notation%20guide%20for%20rank-2%20pergens.pdf notation guide for rank-2 pergens]. One up is 7 generators. The tilde ~ means mid, half-way between major and minor. ~4 = ^4 = vA4 and ~5 = v5 = ^d5. The comma (the actual punctuation mark) is pronounced "add", thus C~,7 is "C mid add 7". To facilitate chord naming, lifts and drops are also used. Enharmonic equivalences: vvA1 and v\m2. Cents: ^1 = 50¢ + 3.5c and /1 = 50¢ - 8.5c, where c = the amount in cents the tempered fifth exceeds 700¢. /1 = ~81/80 = ~64/63 and ^1 = ~33/32. To convert to 41edo, ^1 = 2\41 and /1 = 1\41.
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