Xenharmonic Wiki

Primer for 19edo: Difference between revisions

← Older editNewer edit →
VisualWikitext
No edit summary
→Notation: not sure why this wasn't symmetric about the semioctave. Make it symmetric
Line 11: Line 11:
Looking at 19edo as an extension of 12edo, standard notation can be used, whether it is staff notation (with five lines), letter notation (with standard accidentals), solfege, or sargam. Notes with enharmonic equivalents are different than they are in 12edo, though.
Looking at 19edo as an extension of 12edo, standard notation can be used, whether it is staff notation (with five lines), letter notation (with standard accidentals), solfege, or sargam. Notes with enharmonic equivalents are different than they are in 12edo, though.


=== Letter Notation (anglophonic standard) ===
=== Letter notation (anglophonic standard) ===
Using the letters A-G and "accidentals" b to lower a tone and # to raise a tone, with also bb to lower a tone two degrees and x to raise a tone two degrees, the notes and enharmonic equivalents are shown in the table below:
Using the letters A–G and accidentals b to lower a tone and # to raise a tone, with also bb to lower a tone two degrees and x to raise a tone two degrees, the notes and enharmonic equivalents are shown in the table below:
 
{| class="wikitable"
{| class="wikitable"
|+A Basic Look at Letter Notation in 19edo
|+A Basic Look at Letter Notation in 19edo
!Scale Degree
! Scale degree
!Interval
! Interval
!Alternative Interval
! Function
!Name
! In A
!In A
! Equivalents
!Enharmonic Equivalents
|-
|-
|1
| 1
|Unison
| Unison
|
| Tonic
|Tonic
| A
|A
|  
|
|-
|-
|bb2
| A1/bb2
|
| Augmented unison, diminished second
|Diminished Second
|  
|
| A#
|A#
| Bbb
|Bbb
|-
|-
|b2
| b2
|Minor Second
| Minor second
|
|  
|
| Bb (*)
|Bb (*)
| Ax
|Ax
|-
|-
|2
| 2
|Major Second
| Major second
|
| Supertonic
|Supertonic
| B (*)
|B (*)
| Cbb
|Cbb
|-
|-
|#2/bb3
| #2/bb3
|
| Augmented second, diminished third
|Augmented Second, Diminished Third
|  
|
| B# or Cb
|B# or Cb
|  
|
|-
|-
|b3
| b3
|Minor Third
| Minor third
|
|  
|
| C
|C
| Bx
|Bx
|-
|-
|3
| 3
|Major Third
| Major third
|
| Mediant
|Mediant
| C#
|C#
| Dbb
|Dbb
|-
|-
|#3/b4
| #3/b4
|
| Augmented third, diminished fourth
|Augmented Third, Diminished Fourth
|  
|
| Db
|Db
| Cx
|Cx
|-
|-
|4
| 4
|Perfect Fourth
| Perfect fourth
|
| Subdominant
|Subdominant
| D
|D
|  
|
|-
|-
|#4
| #4
|Augmented Fourth
| Augmented fourth
|
|  
|
| D#
|D#
| Ebb
|Ebb
|-
|-
|b5
| b5
|Diminished Fifth
| Diminished fifth
|
|  
|
| Eb
|Eb
| Dx
|Dx
|-
|-
|5
| 5
|Perfect Fifth
| Perfect fifth
|
| Dominant
|Dominant
| E
|E
| Fbb
|Fbb
|-
|-
|#5/bb6
| #5/bb6
|
| Augmented fifth, diminished sixth
|Augmented Fifth, Diminished sixth
|  
|
| E# or Fb
|E# or Fb
|  
|
|-
|-
|b6
| b6
|Minor Sixth
| Minor sixth
|
|  
|
| F
|F
| Ex
|Ex
|-
|-
|6
| 6
|Major Sixth
| Major sixth
|
| Submediant
|Submediant
| F#
|F#
| Gbb
|Gbb
|-
|-
|bb7/#6
| #6/bb7
|
| Augmented sixth, diminished seventh
|Augmented Sixth, Diminished Seventh
|  
|
| Gb
|Gb
| Fx
|Fx
|-
|-
|b7
| b7
|Minor Seventh
| Minor seventh
|
|  
|
| G
|G
|  
|
|-
|-
|7
| 7
|Major Seventh
| Major seventh
|
| Subtonic
|Subtonic
| G#
|G#
| Abb
|Abb
|-
|-
|#7
| #7/d8
|
| Augmented seventh, diminished octave
|Augmented Seventh
|  
|
| Ab
|Ab
| Gx
|Gx
|}
|}
<nowiki>*</nowiki>Some cultures use letter notation, but there is a common variation to replace Bb from the table with B and then replace B from the table with H.
<nowiki>*</nowiki> Some cultures use letter notation, but there is a common variation to replace Bb from the table with B and then replace B from the table with H.


Chords would follow the same spelling as with standard 12edo notation, just be careful with spelling. For example, Bb chord would be spelled Bb D F, and A# chord would be A# Cx E#; but the two are different chords, one degree apart from each other.
Chords would follow the same spelling as with standard 12edo notation, just be careful with spelling. For example, Bb chord would be spelled Bb D F, and A# chord would be A# Cx E#; but the two are different chords, one degree apart from each other.
Line 162: Line 143:


=== Solfege ===
=== Solfege ===
There are a lot of variants of solfege, depending on culture and tradition. Some traditions use moveable "do," and others use fixed "do."  Typically, moveable "do" systems employ varying vowel sounds to note accidentals, whereas fixed "do" systems usually use sharp and flat accidentals as letter notation does. One proposed modified solfege system is in the table below. See also [[List of uniform solfeges for EDOs#19edo%20.283%20vowels.29|List of uniform solfeges for EDOs -- 19edo (3 vowels)]].
There are a lot of variants of solfege, depending on culture and tradition. Some traditions use moveable "do", and others use fixed "do". Typically, moveable "do" systems employ varying vowel sounds to note accidentals, whereas fixed "do" systems usually use sharp and flat accidentals as letter notation does. One proposed modified solfege system is in the table below. See also [[List of uniform solfeges for EDOs#19edo%20.283%20vowels.29|List of uniform solfeges for EDOs -- 19edo (3 vowels)]].
 
{| class="wikitable"
{| class="wikitable"
!Scale Degree
! Scale degree
!Interval
! Interval
!Alternative Interval
! Function
!Name
! Solfege
!Solfege
!Enharmonic Equivalents
|-
|-
|1
| 1
|Unison
| Unison
|
| Tonic
|Tonic
| do
|do
|
|-
|-
|bb2
| A1/bb2
|
| Augmented unison, diminished second
|Diminished Second
|  
|
| di, ro
|ro
|(di)
|-
|-
|b2
| b2
|Minor Second
| Minor second
|
|  
|
| ra
|ra
|
|-
|-
|2
| 2
|Major Second
| Major second
|
| Supertonic
|Supertonic
| re
|re
|
|-
|-
|#2/bb3
| #2/bb3
|
| Augmented second, diminished third
|Augmented Second, Diminished Third
|  
|
| ri, ma
|ri / ma
|
|-
|-
|b3
| b3
|Minor Third
| Minor third
|
|  
|
| me
|me
|
|-
|-
|3
| 3
|Major Third
| Major third
|
| Mediant
|Mediant
| mi
|mi
|
|-
|-
|#3/b4
| #3/b4
|
| Augmented third, diminished fourth
|Augmented Third, Diminished Fourth
|  
|
| mo, fe
|mo / fe
|
|-
|-
|4
| 4
|Perfect Fourth
| Perfect fourth
|
| Subdominant
|Subdominant
| fa
|fa
|
|-
|-
|#4
| #4
|Augmented Fourth
| Augmented fourth
|
|  
|
| fi
|fi
|
|-
|-
|b5
| b5
|Diminished Fifth
| Diminished fifth
|
|  
|
| se
|se
|
|-
|-
|5
| 5
|Perfect Fifth
| Perfect fifth
|
| Dominant
|Dominant
| sol
|sol
|
|-
|-
|#5
| #5/bb6
|Augmented Fifth
| Augmented fifth, diminished sixth
|Diminished sixth
|  
|
| si, lo
|si
|lo
|-
|-
|b6
| b6
|Minor Sixth
| Minor sixth
|
|  
|
| le
|le
|
|-
|-
|6
| 6
|Major Sixth
| Major sixth
|
| Submediant
|Submediant
| la
|la
|
|-
|-
|bb7/#6
| #6/bb7
|Diminished Seventh
| Augmented Sixth, diminished seventh
|Augmented Sixth
|  
|
| li, ta
|ta / li
|
|-
|-
|b7
| b7
|Minor Seventh
| Minor seventh
|
|  
|
| te
|te
|
|-
|-
|7
| 7
|Major Seventh
| Major seventh
|
| Subtonic
|Subtonic
| ti
|ti
|
|-
|-
|#7
| #7/d8
|
| Augmented seventh, diminished octave
|Augmented Seventh
|  
|
| to, da
|to
|(da)
|}
|}
== Tuning (a stringed instrument) ==
== Tuning (a stringed instrument) ==
There are many approaches to tuning (if you are reading this, then that statement should seem ironic here), so tuning something like a guitar in 19edo might seem like a daunting task.
There are many approaches to tuning (if you are reading this, then that statement should seem ironic here), so tuning something like a guitar in 19edo might seem like a daunting task.
Retrieved from "https://en.xen.wiki/w/Primer_for_19edo"