Kite's ups and downs notation: Difference between revisions
Wikispaces>TallKite **Imported revision 614971215 - Original comment: ** |
Wikispaces>TallKite **Imported revision 615125413 - Original comment: ** |
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<h2>IMPORTED REVISION FROM WIKISPACES</h2> | <h2>IMPORTED REVISION FROM WIKISPACES</h2> | ||
This is an imported revision from Wikispaces. The revision metadata is included below for reference:<br> | This is an imported revision from Wikispaces. The revision metadata is included below for reference:<br> | ||
: This revision was by author [[User:TallKite|TallKite]] and made on <tt>2017-06- | : This revision was by author [[User:TallKite|TallKite]] and made on <tt>2017-06-27 06:27:53 UTC</tt>.<br> | ||
: The original revision id was <tt> | : The original revision id was <tt>615125413</tt>.<br> | ||
: The revision comment was: <tt></tt><br> | : The revision comment was: <tt></tt><br> | ||
The revision contents are below, presented both in the original Wikispaces Wikitext format, and in HTML exactly as Wikispaces rendered it.<br> | The revision contents are below, presented both in the original Wikispaces Wikitext format, and in HTML exactly as Wikispaces rendered it.<br> | ||
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=__**Other EDOs**__= | =__**Other EDOs**__= | ||
The up symbol means "sharpened by one EDO-step" in | The up symbol means "sharpened by one EDO-step" in any EDO that uses them. The size in cents of the up changes greatly depending on the edo, from 120¢ in 10-edo to ~17¢ in 72-edo. The sharp symbol's cents size also depends on the edo, ranging from 240¢ in 5-edo to ~26¢ in 47-edo. | ||
EDOs come in 5 categories, based on the size of the fifth. From widest to narrowest: | EDOs come in 5 categories, based on the size of the fifth. From widest to narrowest: | ||
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In the first approach, major is still fifthwards, which makes it narrower than minor. Aug is narrower than dim. This makes interval arithmetic and chord names unaffected. M2 + M2 is still M3, and a C minor chord is still C Eb G. Sharp is flatter than natural. __**Up is still ascending in pitch**__. If someone's singing above pitch, instead of saying "you're singing sharp", you would say "you're singing up". | In the first approach, major is still fifthwards, which makes it narrower than minor. Aug is narrower than dim. This makes interval arithmetic and chord names unaffected. M2 + M2 is still M3, and a C minor chord is still C Eb G. Sharp is flatter than natural. __**Up is still ascending in pitch**__. If someone's singing above pitch, instead of saying "you're singing sharp", you would say "you're singing up". | ||
In the 2nd approach, major is still wider than minor, so major is not fifthwards but fourthwards. Sharp is still sharper than natural. The chain of fifths: M2 - M6 - M3 - M7 - P4 - P1 - P5 - m2 - m6 - m3 - m7 - | In the 2nd approach, major is still wider than minor, so major is not fifthwards but fourthwards. Sharp is still sharper than natural. The chain of fifths: M2 - M6 - M3 - M7 - P4 - P1 - P5 - m2 - m6 - m3 - m7 - d4 - d1 etc. | ||
F# - C# - G# - D# - A# - E# - B# - F - C - G - D - A - E - B - Fb - Cb - Gb - Db - Ab - Eb - Bb - Fbb etc. | F# - C# - G# - D# - A# - E# - B# - F - C - G - D - A - E - B - Fb - Cb - Gb - Db - Ab - Eb - Bb - Fbb etc. | ||
16edo: P1 - A1/d2 - m2 - M2 - m3 - M3 - A3/d4 - P4 - A4/d5 - P5 - A5/d6 - m6 - M6 - m7 - M7 - A7/d8 - P8 | 16edo: P1 - A1/d2 - m2 - M2 - m3 - M3 - A3/d4 - P4 - A4/d5 - P5 - A5/d6 - m6 - M6 - m7 - M7 - A7/d8 - P8 | ||
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0-7-13-20 = Cv Evv Gv Bvv is "Cv.vM7", "C down, downmajor seven". | 0-7-13-20 = Cv Evv Gv Bvv is "Cv.vM7", "C down, downmajor seven". | ||
Sus chords: as in conventional notation, "sus" means the 3rd is replaced by the named note, a 2nd or 4th. "Sus4" implies a perfect 4th, and other 4ths are specified explicitly as sus^4 for an up-fourth, etc. | Sus chords: as in conventional notation, "sus" means the 3rd is replaced by the named note, a 2nd or 4th. "Sus4" implies a perfect 4th, and other 4ths are specified explicitly as sus^4 for an up-fourth, etc. Certain larger edos might have susv4, susvv4, etc. "Sus2" implies a major 2nd. In most edos, this M2 is always a perfect 4th below the perfect 5th, implying an approximate 8:9:12 chord. See the superflat EDOs below for an exception. | ||
Aug-3 and dim-3 chords: many of the larger EDOs have an aug 3rd distinct from the perfect 4th, and a dim 3rd distinct from the major 2nd. An A3,P5 chord is C(A3) = "C aug-three" (not "C aug", because that refers to the conventional aug chord M3,A5). Likewise d3,P5 is C(d3) = "C dim-three", and m3,d5 is Cdim. | |||
0-3-13 = C Dv G = | 0-3-13 = C Dv G = C(v2) | ||
0-4-13 = C D G = | 0-4-13 = C D G = C2 | ||
0-5-13 = C Eb G = Cm | 0-5-13 = C Eb G = Cm | ||
0-6-13 = C Eb^ G = C.^m | 0-6-13 = C Eb^ G = C.^m | ||
0-7-13 = C Ev G = C.v | 0-7-13 = C Ev G = C.v | ||
0-8-13 = C E G = C | 0-8-13 = C E G = C | ||
0-9-13 = C F G = | 0-9-13 = C F G = C4 | ||
0-10-13 = C F^ G = | 0-10-13 = C F^ G = C(^4) | ||
0-5-10 = C Eb Gb = Cdim | 0-5-10 = C Eb Gb = Cdim | ||
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0-5-11-14 = C Eb Gb^ Bbbv = Cdim7(^5,v7) | 0-5-11-14 = C Eb Gb^ Bbbv = Cdim7(^5,v7) | ||
0-6-11-15 = C Eb^ Gb^ Bbb = Cdim7(^3,^5) | 0-6-11-15 = C Eb^ Gb^ Bbb = Cdim7(^3,^5) | ||
0-6-11-16 = C Eb^ Gb | 0-6-11-16 = C Eb^ Gb Bbb^ = C.^dim7 (the up symbol applies to both the 3rd and the 7th) | ||
0-5-13-17 = C Eb G A = Cm6 | 0-5-13-17 = C Eb G A = Cm6 | ||
Sometimes doubled ups/downs are unavoidable: | Sometimes doubled ups/downs are unavoidable: | ||
0-6-12-15 = C Eb^ Gv Avv = | 0-6-12-15 = C Eb^ Gv Avv = C.^m(v5)vv6, or C Eb^ Gb^^ Bbb = Cdim7(^3,^^5) | ||
0-8-13-17 = C E G A = C6 | 0-8-13-17 = C E G A = C6 | ||
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0-8-13-21 = C E G B = CM7 | 0-8-13-21 = C E G B = CM7 | ||
0-5-13-16 = C Eb G Av = Cm | 0-5-13-16 = C Eb G Av = Cm,v6 | ||
0-8-13-19 = C E G Bb^ = C | 0-8-13-19 = C E G Bb^ = C,^7 | ||
0-7-13-18-26 = C Ev G Bb D = C9(v3) | 0-7-13-18-26 = C Ev G Bb D = C9(v3) | ||
0-7-13-18-26-32 = C Ev G Bb D F^ = C9(v3 | 0-7-13-18-26-32 = C Ev G Bb D F^ = C9(v3)^11 | ||
You can write out chord progressions using ups/downs notation to name the roots. Here's the first 4 chords of Paul Erlich's 22edo composition "Tibia": | You can write out chord progressions using ups/downs notation to name the roots. Here's the first 4 chords of Paul Erlich's 22edo composition "Tibia": | ||
G. | G.vM7no5 = "G dot down major seven, no five" | ||
Eb^.v | Eb^.v,9 = "E-upflat dot down, add nine" | ||
C7(4) = "C-seven sus-four" | |||
A7(v3) = "A-seven down-three" | A7(v3) = "A-seven down-three" | ||
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VII or vI | VII or vI | ||
These are pronounced "down-two", "up-flat-three", "down-sharp-four", etc. Periods are used as before, for consistency, although they are not always needed. Thus 1 - M3 - 5 - vm7 = I | These are pronounced "down-two", "up-flat-three", "down-sharp-four", etc. Periods are used as before, for consistency, although they are not always needed. Thus 1 - M3 - 5 - vm7 = I,v7 = "one down-seven", 1 - vM3 - 5 - vm7 = I.v7 = "one dot down seven", and v1 - vM3 - v5 - vm7 = vI7 = "down-one seven". Here's the "Tibia" chords again: | ||
I. | I.vM7no5 = "one dot down major seven, no five" | ||
^bVI.v | ^bVI.v,9 = "upflat-six dot down, add nine" | ||
IV7(4) = "four-seven sus-four" | |||
II7(v3) = "two-seven down-three" | II7(v3) = "two-seven down-three" | ||
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In chord names, the mid symbol "~" means "exactly midway between major and minor", hence neutral. This only applies to even-chroma edos. In chroma-2 edos (10, 17, 24, etc.), upminor equals downmajor, and "mid" replaces both terms. In chroma-4 edos (20, 27, 34, etc.), mid replaces both double-upminor and double-downmajor. In 11-edo and 18b-edo, mid replaces both upmajor and downminor. | In chord names, the mid symbol "~" means "exactly midway between major and minor", hence neutral. This only applies to even-chroma edos. In chroma-2 edos (10, 17, 24, etc.), upminor equals downmajor, and "mid" replaces both terms. In chroma-4 edos (20, 27, 34, etc.), mid replaces both double-upminor and double-downmajor. In 11-edo and 18b-edo, mid replaces both upmajor and downminor. | ||
Alterations are enclosed in parentheses, additions never are. | |||
In perfect EDOs (7, 14, 21, 28 and 35), every interval is perfect, and there is no major or minor. In the following list of chord names, omit major, minor, dim and aug. Substitute up for upmajor and upminor, and down for downmajor and downminor. The C-E-G chord is called "C perfect" or simply "C". The D-F-A chord is "D perfect" or "D". | In perfect EDOs (7, 14, 21, 28 and 35), every interval is perfect, and there is no major or minor. In the following list of chord names, omit major, minor, dim and aug. Substitute up for upmajor and upminor, and down for downmajor and downminor. The C-E-G chord is called "C perfect" or simply "C". The D-F-A chord is "D perfect" or "D". | ||
A period in a chord name is pronounced as "dot". For example, C.v = C Ev G is "C dot down", because "C down" means Cv major = Cv Ev Gv. If there are any words after the up/down, a slight pause suffices, e.g. C.vm = "C downminor" and Cv.m = "C-down minor". This is analogous to saying "A-flat nine" for Ab C Eb Gb Bb vs. "A flat-nine" for A C# E G Bb. Even if the period doesn't need to be pronounced, it's always acceptable to do so. However C.v7 must be "C dot down-seven" because "C down-seven" is C | A period in a chord name is pronounced as "dot". For example, C.v = C Ev G is "C dot down", because "C down" means Cv major = Cv Ev Gv. If there are any words after the up/down, a slight pause suffices, e.g. C.vm = "C downminor" and Cv.m = "C-down minor". This is analogous to saying "A-flat nine" for Ab C Eb Gb Bb vs. "A flat-nine" for A C# E G Bb. Even if the period doesn't need to be pronounced, it's always acceptable to do so. However C.v7 must be "C dot down-seven" because "C down-seven" is C,v7 = C E G Bbv. | ||
Applying "dot up" or "dot down" to a chord raises or lowers the 3rd, and also the 6th or the 7th, if present. Thus "C dot down nine" is the usual C9 chord with the 3rd and 7th lowered: C.v9 = C Ev G Bbv D. A "dot mid" chord has a neutral 3rd and a neutral 6th/7th. The rationale for this rule is that a chord often has a note a perfect fourth or fifth above the 3rd. Furthermore, in many EDOs, upfifths, downfifths, upfourths and downfourths will all be quite dissonant and rarely used in chords. Thus if the 3rd is upped or downed, the 6th or 7th likely would be too. However the 9th likely wouldn't, because that would create an upfifth or a downfifth with the 5th. | Applying "dot up" or "dot down" to a chord raises or lowers the 3rd, and also the 6th or the 7th or the 11th, if present. Thus "C dot down nine" is the usual C9 chord with the 3rd and 7th lowered: C.v9 = C Ev G Bbv D. A "dot mid" chord has a neutral 3rd and a neutral 6th/7th, and a half-augmented 11th. The rationale for this rule is that a chord often has a note a perfect fourth or fifth above the 3rd. Furthermore, in many EDOs, upfifths, downfifths, upfourths and downfourths will all be quite dissonant and rarely used in chords. Thus if the 3rd is upped or downed, the 6th or 7th likely would be too. However the 9th likely wouldn't, because that would create an upfifth or a downfifth with the 5th. If the 7th is upped or downed, the 11th would be too. | ||
<span style="display: block; text-align: left;">To find a chord's name, determine its component notes, then use the following tables. These tables aren't exhaustive, but they do provide enough examples to extrapolate from.</span> | <span style="display: block; text-align: left;">To find a chord's name, determine its component notes, then use the following tables. These tables aren't exhaustive, but they do provide enough examples to extrapolate from.</span> | ||
__**Various triads:**__ | __**Various triads:**__ | ||
C D G = | C D G = C2 = "C two" | ||
C D^ G = | C D^ G = C(^2) = "C up-two" (not "C-up two", which would be C^.2 = C^ D^ G^) | ||
C D^^ G = | C D^^ G = C(^^2) = "C double-up-two" | ||
C Eb G = Cm = "C minor" (in perfect EDOs, C = "C" or "C perfect") | C Eb G = Cm = "C minor" (in perfect EDOs, C = "C" or "C perfect") | ||
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C E^^ G = C.^^ = "C double-upmajor" or "C dot double-up" | C E^^ G = C.^^ = "C double-upmajor" or "C dot double-up" | ||
C F G = C4 | C F G = C4 = "C four" | ||
C Fv G = C | C Fv G = C(v4) = "C down-four" | ||
C Fvv G = C | C Fvv G = C(vv4) = "C double-down-four" | ||
C D# G = | C D# G = C(#2) or C(A2) = "C sharp-two" or "C aug-two" | ||
C Ebb G = C(d3) or C(bb3) = "C dim-three" or "C double-flat-three" | C Ebb G = C(d3) or C(bb3) = "C dim-three" or "C double-flat-three" | ||
C E# G = C(#3) or C(A3) = "C sharp-three" or "C aug-three" | C E# G = C(#3) or C(A3) = "C sharp-three" or "C aug-three" | ||
C Fb G = C | C Fb G = C(b4) or C(d4) = "C flat-four" or "C dim-four" | ||
__**Altered fifths:**__ | __**Altered fifths:**__ | ||
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C Eb Gbv = Cdim(v5) = "C dim down-five" | C Eb Gbv = Cdim(v5) = "C dim down-five" | ||
C Eb Gb^ = Cdim(^5) = "C dim up-five" | C Eb Gb^ = Cdim(^5) = "C dim up-five" | ||
C Eb^ Gb = C.^dim | C Eb^ Gb = C.^dim = "C up-dim" (in certain EDOs, C~dim = "C mid-dim") | ||
C Eb^ Gb^ = C.^dim(^5) = "C up-dim up-five" (in certain EDOs, C~(^b5) = "C mid upflat-five") | C Eb^ Gb^ = C.^dim(^5) = "C up-dim up-five" (in certain EDOs, C~(^b5) = "C mid upflat-five") | ||
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C E^ G#^ = C.^aug(^5) = "C up-aug up-five" | C E^ G#^ = C.^aug(^5) = "C up-aug up-five" | ||
C D# Gb = | C D# Gb = C(#2,b5) = "C sharp-two, flat-five" | ||
C Ebb Gb = Cdim(d3) or Cdim(bb3) = "C dim dim-three" or "C dim double-flat-three" | C Ebb Gb = Cdim(d3) or Cdim(bb3) = "C dim dim-three" or "C dim double-flat-three" | ||
C Eb G# is Cmin(#5) = "C minor sharp-five" | C Eb G# is Cmin(#5) = "C minor sharp-five" | ||
C E# G# is Caug(#3) = "C aug sharp-three" | C E# G# is Caug(#3) = "C aug sharp-three" | ||
C Fb G# is C | C Fb G# is C(b4,#5) = "C flat-four sharp-five" | ||
__**Seventh chords:**__ | __**Seventh chords:**__ | ||
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C Ev G Bb = C7(v3) = "C seven down-three" (in certain EDOs, C7(~3) = "C seven mid-three") | C Ev G Bb = C7(v3) = "C seven down-three" (in certain EDOs, C7(~3) = "C seven mid-three") | ||
(here "down-three" means downmajor 3rd, not downminor 3rd, because "C7" indicates a major 3rd) | (here "down-three" means downmajor 3rd, not downminor 3rd, because "C7" indicates a major 3rd) | ||
C E G Bbv = C | C E G Bbv = C,v7 = "C down-seven" (not "C-down seven", which would be Cv.7 = Cv Ev Gv Bbv) | ||
C Ev G Bbv = C.v7 = "C dot down seven" (in certain EDOs, C~ | C Ev G Bbv = C.v7 = "C dot down seven" (in certain EDOs, C~,v7 = "C mid down-seven") | ||
C E Gv Bb = C7(v5) = "C seven down-five" | C E Gv Bb = C7(v5) = "C seven down-five" | ||
C Ev Gv Bb = C7(v3,v5) = "C seven down-three down-five" | C Ev Gv Bb = C7(v3,v5) = "C seven down-three down-five" | ||
C Ev Gv Bbv = C.v7(v5) = "C dot down seven, down-five" | C Ev Gv Bbv = C.v7(v5) = "C dot down seven, down-five" | ||
C Ev G Bbvv = C.v | C Ev G Bbvv = C.v,vv7 = "C dot down, double-down seven" | ||
C E G Bb^ = C | C E G Bb^ = C,^7 = "C up-seven" (in certain EDOs, C,~7 = "C mid-seven") | ||
C Ev G Bb^ = C.v | C Ev G Bb^ = C.v,^7 = "C dot down up-seven" (in certain EDOs, C.~7 = "C dot mid-seven") | ||
C Eb G Bb = Cm7 = "C minor seven" (in perfect EDOs, C7 = "C seven") | C Eb G Bb = Cm7 = "C minor seven" (in perfect EDOs, C7 = "C seven") | ||
C Eb^ G Bb = Cm7(^3) = "C minor seven up-three" (in certain EDOs, C7(~3) = "C seven mid-three") | C Eb^ G Bb = Cm7(^3) = "C minor seven up-three" (in certain EDOs, C7(~3) = "C seven mid-three") | ||
C Eb G Bb^ = Cm | C Eb G Bb^ = Cm,^7 = "C minor up-seven" (in certain EDOs, Cm,~7 = "C minor mid-seven") | ||
C Eb^ G Bb^ = C.^m7 = "C dot up minor-seven" (in certain EDOs, C.~7 = "C dot mid seven") | C Eb^ G Bb^ = C.^m7 = "C dot up minor-seven" (in certain EDOs, C.~7 = "C dot mid seven") | ||
C E G B = CM7 = "C major seven" (in perfect EDOs, C7 = "C seven") | C E G B = CM7 = "C major seven" (in perfect EDOs, C7 = "C seven") | ||
C Ev G B = CM7(v3) = "C major seven down-three" | C Ev G B = CM7(v3) = "C major seven down-three" | ||
C E G Bv = C | C E G Bv = C,vM7 = "C downmajor-seven" | ||
C Ev G Bv = C.vM7 = "C dot down major-seven" | C Ev G Bv = C.vM7 = "C dot down major-seven" | ||
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C Eb^ Gb Bbb = Cdim7(^3) = "C dim seven up-three" (in certain EDOs, Cdim7(~3) = "C dim seven mid-three") | C Eb^ Gb Bbb = Cdim7(^3) = "C dim seven up-three" (in certain EDOs, Cdim7(~3) = "C dim seven mid-three") | ||
C Eb Gb^ Bbb = Cdim7(v5) = "C dim seven up-five" | C Eb Gb^ Bbb = Cdim7(v5) = "C dim seven up-five" | ||
C Eb Gb Bbb^ = Cdim | C Eb Gb Bbb^ = Cdim,^d7 = "C dim updim-seven" | ||
C Eb^ Gb Bbb^ = C.^dim7 = "C dot up dim-seven" | C Eb^ Gb Bbb^ = C.^dim7 = "C dot up dim-seven" | ||
C Eb^ Gb^ Bbb^ = C.^dim7(^5) = "C dot up dim-seven up-five" | C Eb^ Gb^ Bbb^ = C.^dim7(^5) = "C dot up dim-seven up-five" | ||
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C Eb^ Gb Bb = Cm7(b5,^3) = "C minor seven flat-five up-three" or "C half-dim up-three" | C Eb^ Gb Bb = Cm7(b5,^3) = "C minor seven flat-five up-three" or "C half-dim up-three" | ||
C Eb Gb^ Bb = Cm7(^b5) = "C minor seven upflat-five" or "C half-dim up-five" | C Eb Gb^ Bb = Cm7(^b5) = "C minor seven upflat-five" or "C half-dim up-five" | ||
C Eb Gb Bb^ = Cdim | C Eb Gb Bb^ = Cdim,^7 = "C dim up-seven" or "C half-dim up-seven" | ||
C Eb^ Gb^ Bb = Cm7(^b5,^3) = "C minor seven up-three upflat-five" or "C half-dim up-three up-five" | C Eb^ Gb^ Bb = Cm7(^b5,^3) = "C minor seven up-three upflat-five" or "C half-dim up-three up-five" | ||
C Eb^ Gb Bb^ = C.^m7(b5) = "C dot up minor-seven flat-five" or "C half-dim up-three up-seven" | C Eb^ Gb Bb^ = C.^m7(b5) = "C dot up minor-seven flat-five" or "C half-dim up-three up-seven" | ||
C Eb Gb^ Bb^ = Cdim(^5 | C Eb Gb^ Bb^ = Cdim(^5)^7 = "C dim up-five up-seven" or "C half-dim up-five up-seven" | ||
C Eb^ Gb^ Bb^ = C.^m7(^b5) = "C dot up minor-seven upflat-five" or "C half-dim up-three up-five up-seven" | C Eb^ Gb^ Bb^ = C.^m7(^b5) = "C dot up minor-seven upflat-five" or "C half-dim up-three up-five up-seven" | ||
C E G Bbb = C | C E G Bbb = C,bb7 or C,d7 = "C double-flat-seven" or "C major dim-seven" (not "C dim-seven" = Cdim7) | ||
C E G B# is C | C E G B# is C,#7 or C,A7 = "C sharp-seven" or "C major aug-seven" (not "C aug-seven" = Caug7) | ||
C E G Cb = C | C E G Cb = C,b8 or C,d8 = "C flat-eight" or "C dim-eight" | ||
__**Sixth chords:**__ | __**Sixth chords:**__ | ||
C E G A = C6 = "C six" | C E G A = C6 = "C six" | ||
C Ev G A = C6(v3) = "C six down-three" (in certain EDOs, C6(~3) = "C six mid-three") | C Ev G A = C6(v3) = "C six down-three" (in certain EDOs, C6(~3) = "C six mid-three") | ||
C E G Av = C | C E G Av = C,v6 = "C down-six" (in certain EDOs, C,~6 = "C mid-six") | ||
C Ev G Av = C.v6 = "C dot down six" (in certain EDOs, C.~6 = "C dot mid six") | C Ev G Av = C.v6 = "C dot down six" (in certain EDOs, C.~6 = "C dot mid six") | ||
C Eb G A = Cm6 = "C minor six" (in perfect EDOs, C6 = "C six") | C Eb G A = Cm6 = "C minor six" (in perfect EDOs, C6 = "C six") | ||
C Eb^ G A = Cm6(^3) = "C minor six up-three" (in certain EDOs, C6(~3) = "C six mid three") | C Eb^ G A = Cm6(^3) = "C minor six up-three" (in certain EDOs, C6(~3) = "C six mid three") | ||
C Eb G Av = Cm | C Eb G Av = Cm,v6 = "C minor down-six" (in certain EDOs, Cm,~6 = "C minor mid-six") | ||
C Eb^ G A^ = C.^m6 = "C dot up minor-six" | C Eb^ G A^ = C.^m6 = "C dot up minor-six" | ||
C Eb^ G A = Cm6(^3) = "C minor six up-three" (in certain EDOs, C6(~3) = "C six mid-three") | C Eb^ G A = Cm6(^3) = "C minor six up-three" (in certain EDOs, C6(~3) = "C six mid-three") | ||
C E G Ab = C | C E G Ab = C,b6 = "C flat-six" (not "C minor-six" because that sounds like "C minor six" = Cm6) | ||
C E G A# is C | C E G A# is C,#6 = "C sharp-six" | ||
__**Ninth chords:**__ | __**Ninth chords:**__ | ||
C D E G = C | C D E G = C,9 = "C add nine" | ||
C D Ev G = C.v | C D Ev G = C.v,9 = "C dot down add nine" or "C downmajor add nine" | ||
C D^ E G = C | C D^ E G = C,^9 = "C add up-nine" | ||
C D^ E^ G = C.^ | C D^ E^ G = C.^,^9 = "C dot up add up-nine" or "C upmajor add up-nine" | ||
C D E G Bb = C9 = "C nine" | C D E G Bb = C9 = "C nine" | ||
| Line 473: | Line 475: | ||
C Dv E G Bb = C7(v9) = "C seven down-nine" or C9(v9) = "C nine down-nine" | C Dv E G Bb = C7(v9) = "C seven down-nine" or C9(v9) = "C nine down-nine" | ||
C D Ev G Bbv = C.v9 = "C dot down nine" | C D Ev G Bbv = C.v9 = "C dot down nine" | ||
C Dv Ev G Bb = C7(v3 | C Dv Ev G Bb = C7(v3)v9 = "C seven down-three down-nine" | ||
C Dv E G Bbv = C | C Dv E G Bbv = C,v7,v9 = "C down-seven down-nine" | ||
C Dv Ev G Bbv = C.v7 | C Dv Ev G Bbv = C.v7,v9 = "C dot down seven down-nine" | ||
C Dv Ev Gv Bbv = C.v7(v5 | C Dv Ev Gv Bbv = C.v7(v5)v9 = "C dot down-seven down-five down-nine" | ||
C D E G B = CM9 = "C major nine" (in perfect EDOs, C9 = "C nine") | C D E G B = CM9 = "C major nine" (in perfect EDOs, C9 = "C nine") | ||
| Line 488: | Line 490: | ||
C D Eb^ G Bb^ = C.^m9 = "C dot up minor-nine" (in certain EDOs, C.~M9 = "C dot mid major nine") | C D Eb^ G Bb^ = C.^m9 = "C dot up minor-nine" (in certain EDOs, C.~M9 = "C dot mid major nine") | ||
C Db E G Bb = C7 | C Db E G Bb = C7,b9 = "C seven flat-nine" (in perfect EDOs, C9 = "C nine") | ||
C Db Ev G Bb = C7( | C Db Ev G Bb = C7,b9(v3) = "C seven flat-nine down-three" | ||
C Db E G Bbv = | C Db E G Bbv = C,v7,b9 = "C seven flat-nine down-seven" | ||
C Dbv E G Bb = C7 | C Dbv E G Bb = C7,vb9 = "C seven downflat-nine" | ||
C Db Ev G Bbv = C.v7 | C Db Ev G Bbv = C.v7,b9 = "C dot down seven flat-nine" | ||
C Dbv Ev G Bb = C7(v3 | C Dbv Ev G Bb = C7(v3)vb9 = "C seven down-three downflat-nine" | ||
C Dbv E G Bbv = C | C Dbv E G Bbv = C,v7,vb9 = "C down-seven downflat-nine" | ||
C Dbv Ev G Bbv = C.v7 | C Dbv Ev G Bbv = C.v7,vb9 = "C dot down seven downflat-nine" | ||
__**Example EDOs:**__ | __**Example EDOs:**__ | ||
| Line 506: | Line 508: | ||
chord roots: I ^I/vII II ^II/vIII III vIII/vIV IV ^IV/vV V ^V/vVI VI ^VI/vVII VII ^VII/vI | chord roots: I ^I/vII II ^II/vIII III vIII/vIV IV ^IV/vV V ^V/vVI VI ^VI/vVII VII ^VII/vI | ||
0-3-8 = D Fv A = D.v = "D dot down" | 0-3-8 = D Fv A = D.v = "D dot down" or "D downperfect" | ||
0-4-8 = D F A = D = "D" or "D perfect" | 0-4-8 = D F A = D = "D" or "D perfect" | ||
0-5-8 = D F^ A = D.^ = "D dot up" | 0-5-8 = D F^ A = D.^ = "D dot up" | ||
| Line 515: | Line 517: | ||
0-5-9 = D F^ A^ = D.^(^5) = "D dot up, up-five" | 0-5-9 = D F^ A^ = D.^(^5) = "D dot up, up-five" | ||
0-4-8-11 = D F A Cv = D | 0-4-8-11 = D F A Cv = D,v7 = "D down-seven", or D F A B^ = D,^6 = "D up-six" | ||
0-3-8-11 = D Fv A Cv = D.v7 = "D dot down seven" | 0-3-8-11 = D Fv A Cv = D.v7 = "D dot down seven" | ||
0-5-8-11 = D F^ A B^ = D.^6 = "D dot up six" | 0-5-8-11 = D F^ A B^ = D.^6 = "D dot up six" | ||
| Line 550: | Line 552: | ||
chord components: P1 A2 M2 m2/A3 M3 m3 d3/A4 P4 d4/A5 P5 d5/A6 M6 m6/A7 M7 m7 d7 | chord components: P1 A2 M2 m2/A3 M3 m3 d3/A4 P4 d4/A5 P5 d5/A6 M6 m6/A7 M7 m7 d7 | ||
chord roots: I bI/#II II bII III bIII bbIII/#IV IV bIV/#V V bV/#VI VI bVI VII bVII bbVII/#I | chord roots: I bI/#II II bII III bIII bbIII/#IV IV bIV/#V V bV/#VI VI bVI VII bVII bbVII/#I | ||
0-3-9 = D F## A = D(#3) = "D aug-three" (or possibly D Eb A = | 0-3-9 = D F## A = D(#3) = "D aug-three" (or possibly D Eb A = D(b2) = "D dim-two") | ||
0-4-9 = D F# A = D = "D" or "D major" | 0-4-9 = D F# A = D = "D" or "D major" | ||
0-5-9 = D F A = Dm = "D minor" | 0-5-9 = D F A = Dm = "D minor" | ||
0-6-9 = D Fb A = D(bb3) = "D dim-three" (or possibly D G# A = D | 0-6-9 = D Fb A = D(bb3) = "D dim-three" (or possibly D G# A = D(#4) = "D sharp-four") | ||
0-5-10 = D F Ab = Ddim = "D dim" | 0-5-10 = D F Ab = Ddim = "D dim" | ||
0-6-10 = D Fb Ab = Ddim(bb3) = "D dim dim-three" | 0-6-10 = D Fb Ab = Ddim(bb3) = "D dim dim-three" | ||
0-7-9 = D G A = | 0-7-9 = D G A = D4 = "D four" | ||
0-5-9-13 = D F A C# is DmM7 = "D minor-major" | 0-5-9-13 = D F A C# is DmM7 = "D minor-major" | ||
0-4-8-12 = D F# A# C## is Daug | 0-4-8-12 = D F# A# C## is Daug,#7 = "D aug sharp-seven" | ||
17edo: D * * E F * * G * * A * * B C * * D, 2 keys per #/b. | 17edo: D * * E F * * G * * A * * B C * * D, 2 keys per #/b. | ||
| Line 567: | Line 569: | ||
0-6-10 = D F# A = D = "D" or "D major" | 0-6-10 = D F# A = D = "D" or "D major" | ||
0-5-10-14 = D F^ A C = D7(~3) = "D seven mid-three" | 0-5-10-14 = D F^ A C = D7(~3) = "D seven mid-three" | ||
0-4-10-15 = D F A C^ = Dm | 0-4-10-15 = D F A C^ = Dm,~7 = "D minor mid-seven" | ||
0-5-10-15 = D F^ A C^ = D.~7 = "D dot mid seven" | 0-5-10-15 = D F^ A C^ = D.~7 = "D dot mid seven" | ||
0-6-10-15 = D F# A C^ = D | 0-6-10-15 = D F# A C^ = D,~7 = "D mid-seven" | ||
19edo: D * * E * F * * G * * A * * B * C * * D, ups and downs not needed. | 19edo: D * * E * F * * G * * A * * B * C * * D, ups and downs not needed. | ||
chord components: P1 d2 m2 M2 d3 m3 M3 A3 P4 A4 d5 P5 A5 m6 M6 d7 m7 M7 A7 | chord components: P1 d2 m2 M2 d3 m3 M3 A3 P4 A4 d5 P5 A5 m6 M6 d7 m7 M7 A7 | ||
chord roots: I #I/bbII bII II #II/bbIII bIII III #III/bIV IV #IV bV V #V/bbVI bVI VI bbVII bVII VII #VII/bI | chord roots: I #I/bbII bII II #II/bbIII bIII III #III/bIV IV #IV bV V #V/bbVI bVI VI bbVII bVII VII #VII/bI | ||
0-4-11 = D Fb A = D( | 0-4-11 = D Fb A = D(d3) = "D dim-three" (dim 3rd, perfect 5th = approx. 6:7:9) | ||
0-4-10 = D Fb Ab = Ddim( | 0-4-10 = D Fb Ab = Ddim(d3) = "D dim dim-three" | ||
0-7-11 = D F## A = D(#3) = "D sharp-three" (aug 3rd, perfect 5th) | 0-7-11 = D F## A = D(#3) = "D sharp-three" (aug 3rd, perfect 5th) | ||
0-7-12 = D F## A# is Daug(#3) = "D aug sharp-three" | 0-7-12 = D F## A# is Daug(#3) = "D aug sharp-three" | ||
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0-7-12 = D F^ A = D.^ = "D dot up" (approx. 4:5:6) | 0-7-12 = D F^ A = D.^ = "D dot up" (approx. 4:5:6) | ||
0-8-12 = D F^^ A = D.^^ = "D dot double-up", or D Gv A = D.v4 = "D down-four" | 0-8-12 = D F^^ A = D.^^ = "D dot double-up", or D Gv A = D.v4 = "D down-four" | ||
0-7-12-17 = D F^ A Cv = D.^ | 0-7-12-17 = D F^ A Cv = D.^,v7 = "D dot up down-seven" (approx. 4:5:6:7) | ||
24edo: D * * * E * F * * * G * * * A * * * B * C * * * D, 2 keys per #/b. | 24edo: D * * * E * F * * * G * * * A * * * B * C * * * D, 2 keys per #/b. | ||
| Line 609: | Line 611: | ||
0-10-18 = D F# A = D (major) | 0-10-18 = D F# A = D (major) | ||
0-11-18 = D F#^ A = D.^= "D dot up" or "D upmajor" | 0-11-18 = D F#^ A = D.^= "D dot up" or "D upmajor" | ||
0-12-18 = D Gv A = D | 0-12-18 = D Gv A = D(v4) = "D down-four" | ||
41edo: C * * Db C# * * D | 41edo: C * * Db C# * * D | ||
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P1 M2 ~2/M3 ~3 m3 P4 P5 M6 ~6/M7 m6/~7 m7 P8 | P1 M2 ~2/M3 ~3 m3 P4 P5 M6 ~6/M7 m6/~7 m7 P8 | ||
m2 m6 m3 m7 P4 P1 P5 M2 M6 M3 M7 | m2 m6 m3 m7 P4 P1 P5 M2 M6 M3 M7 | ||
0-1-6 = D E A = | 0-1-6 = D E A = D2 | ||
0-2-6 = D F# A = D = "D major" | 0-2-6 = D F# A = D = "D major" | ||
0-3-6 = D Fv A = D.~ = "D mid" | 0-3-6 = D Fv A = D.~ = "D mid" | ||
0-4-6 = D F A = Dm = "D minor" | 0-4-6 = D F A = Dm = "D minor" | ||
0-5-6 = D G A = | 0-5-6 = D G A = D4 | ||
0-2-5 = D F# Av = D(v5) = "D down-five" | 0-2-5 = D F# Av = D(v5) = "D down-five" | ||
0-3-5 = D Fv Av = D~(v5) = "D mid down-five" | 0-3-5 = D Fv Av = D~(v5) = "D mid down-five" | ||
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0-3-6-7 = D Fv A B = D6(~3) = "D six up-three" | 0-3-6-7 = D Fv A B = D6(~3) = "D six up-three" | ||
0-4-6-7 = D F A B = Dm6 | 0-4-6-7 = D F A B = Dm6 | ||
0-2-6-8 = D F# A C# is DM7, or D F# A B^ = D | 0-2-6-8 = D F# A C# is DM7, or D F# A B^ = D,~6 = "D mid-six" | ||
0-3-6-8 = D F#^ A C# is DM7(^3) = "D major seven up-three", or D F#^ A B^ = D.^6 = "D dot up-six" | 0-3-6-8 = D F#^ A C# is DM7(^3) = "D major seven up-three", or D F#^ A B^ = D.^6 = "D dot up-six" | ||
0-3-6-9 = D Fv A Cv = D.~7 = "D dot mid seven", or D Fv A Bb = D~ | 0-3-6-9 = D Fv A Cv = D.~7 = "D dot mid seven", or D Fv A Bb = D~,b6 = "D mid flat-six" | ||
=**__Cross-EDO considerations__**= | =**__Cross-EDO considerations__**= | ||
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<!-- ws:start:WikiTextHeadingRule:2:&lt;h1&gt; --><h1 id="toc1"><a name="Other EDOs"></a><!-- ws:end:WikiTextHeadingRule:2 --><u><strong>Other EDOs</strong></u></h1> | <!-- ws:start:WikiTextHeadingRule:2:&lt;h1&gt; --><h1 id="toc1"><a name="Other EDOs"></a><!-- ws:end:WikiTextHeadingRule:2 --><u><strong>Other EDOs</strong></u></h1> | ||
<br /> | <br /> | ||
The up symbol means &quot;sharpened by one EDO-step&quot; in | The up symbol means &quot;sharpened by one EDO-step&quot; in any EDO that uses them. The size in cents of the up changes greatly depending on the edo, from 120¢ in 10-edo to ~17¢ in 72-edo. The sharp symbol's cents size also depends on the edo, ranging from 240¢ in 5-edo to ~26¢ in 47-edo.<br /> | ||
<br /> | <br /> | ||
EDOs come in 5 categories, based on the size of the fifth. From widest to narrowest:<br /> | EDOs come in 5 categories, based on the size of the fifth. From widest to narrowest:<br /> | ||
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In the first approach, major is still fifthwards, which makes it narrower than minor. Aug is narrower than dim. This makes interval arithmetic and chord names unaffected. M2 + M2 is still M3, and a C minor chord is still C Eb G. Sharp is flatter than natural. <u><strong>Up is still ascending in pitch</strong></u>. If someone's singing above pitch, instead of saying &quot;you're singing sharp&quot;, you would say &quot;you're singing up&quot;.<br /> | In the first approach, major is still fifthwards, which makes it narrower than minor. Aug is narrower than dim. This makes interval arithmetic and chord names unaffected. M2 + M2 is still M3, and a C minor chord is still C Eb G. Sharp is flatter than natural. <u><strong>Up is still ascending in pitch</strong></u>. If someone's singing above pitch, instead of saying &quot;you're singing sharp&quot;, you would say &quot;you're singing up&quot;.<br /> | ||
<br /> | <br /> | ||
In the 2nd approach, major is still wider than minor, so major is not fifthwards but fourthwards. Sharp is still sharper than natural. The chain of fifths: M2 - M6 - M3 - M7 - P4 - P1 - P5 - m2 - m6 - m3 - m7 - | In the 2nd approach, major is still wider than minor, so major is not fifthwards but fourthwards. Sharp is still sharper than natural. The chain of fifths: M2 - M6 - M3 - M7 - P4 - P1 - P5 - m2 - m6 - m3 - m7 - d4 - d1 etc.<br /> | ||
F# - C# - G# - D# - A# - E# - B# - F - C - G - D - A - E - B - Fb - Cb - Gb - Db - Ab - Eb - Bb - Fbb etc.<br /> | F# - C# - G# - D# - A# - E# - B# - F - C - G - D - A - E - B - Fb - Cb - Gb - Db - Ab - Eb - Bb - Fbb etc.<br /> | ||
16edo: P1 - A1/d2 - m2 - M2 - m3 - M3 - A3/d4 - P4 - A4/d5 - P5 - A5/d6 - m6 - M6 - m7 - M7 - A7/d8 - P8<br /> | 16edo: P1 - A1/d2 - m2 - M2 - m3 - M3 - A3/d4 - P4 - A4/d5 - P5 - A5/d6 - m6 - M6 - m7 - M7 - A7/d8 - P8<br /> | ||
| Line 1,840: | Line 1,842: | ||
0-7-13-20 = Cv Evv Gv Bvv is &quot;Cv.vM7&quot;, &quot;C down, downmajor seven&quot;.<br /> | 0-7-13-20 = Cv Evv Gv Bvv is &quot;Cv.vM7&quot;, &quot;C down, downmajor seven&quot;.<br /> | ||
<br /> | <br /> | ||
Sus chords: as in conventional notation, &quot;sus&quot; means the 3rd is replaced by the named note, a 2nd or 4th. &quot;Sus4&quot; implies a perfect 4th, and other 4ths are specified explicitly as sus^4 for an up-fourth, etc. | Sus chords: as in conventional notation, &quot;sus&quot; means the 3rd is replaced by the named note, a 2nd or 4th. &quot;Sus4&quot; implies a perfect 4th, and other 4ths are specified explicitly as sus^4 for an up-fourth, etc. Certain larger edos might have susv4, susvv4, etc. &quot;Sus2&quot; implies a major 2nd. In most edos, this M2 is always a perfect 4th below the perfect 5th, implying an approximate 8:9:12 chord. See the superflat EDOs below for an exception.<br /> | ||
<br /> | <br /> | ||
Aug-3 and dim-3 chords: many of the larger EDOs have an aug 3rd distinct from the perfect 4th, and a dim 3rd distinct from the major 2nd. An A3,P5 chord is C(A3) = &quot;C aug-three&quot; (not &quot;C aug&quot;, because that refers to the conventional aug chord M3,A5). Likewise d3,P5 is C(d3) = &quot;C dim-three&quot;, and m3,d5 is Cdim.<br /> | |||
<br /> | <br /> | ||
0-3-13 = C Dv G = | 0-3-13 = C Dv G = C(v2)<br /> | ||
0-4-13 = C D G = | 0-4-13 = C D G = C2<br /> | ||
0-5-13 = C Eb G = Cm<br /> | 0-5-13 = C Eb G = Cm<br /> | ||
0-6-13 = C Eb^ G = C.^m<br /> | 0-6-13 = C Eb^ G = C.^m<br /> | ||
0-7-13 = C Ev G = C.v<br /> | 0-7-13 = C Ev G = C.v<br /> | ||
0-8-13 = C E G = C<br /> | 0-8-13 = C E G = C<br /> | ||
0-9-13 = C F G = | 0-9-13 = C F G = C4<br /> | ||
0-10-13 = C F^ G = | 0-10-13 = C F^ G = C(^4)<br /> | ||
<br /> | <br /> | ||
0-5-10 = C Eb Gb = Cdim<br /> | 0-5-10 = C Eb Gb = Cdim<br /> | ||
| Line 1,860: | Line 1,862: | ||
0-5-11-14 = C Eb Gb^ Bbbv = Cdim7(^5,v7)<br /> | 0-5-11-14 = C Eb Gb^ Bbbv = Cdim7(^5,v7)<br /> | ||
0-6-11-15 = C Eb^ Gb^ Bbb = Cdim7(^3,^5)<br /> | 0-6-11-15 = C Eb^ Gb^ Bbb = Cdim7(^3,^5)<br /> | ||
0-6-11-16 = C Eb^ Gb | 0-6-11-16 = C Eb^ Gb Bbb^ = C.^dim7 (the up symbol applies to both the 3rd and the 7th)<br /> | ||
0-5-13-17 = C Eb G A = Cm6<br /> | 0-5-13-17 = C Eb G A = Cm6<br /> | ||
<br /> | <br /> | ||
Sometimes doubled ups/downs are unavoidable:<br /> | Sometimes doubled ups/downs are unavoidable:<br /> | ||
0-6-12-15 = C Eb^ Gv Avv = | 0-6-12-15 = C Eb^ Gv Avv = C.^m(v5)vv6, or C Eb^ Gb^^ Bbb = Cdim7(^3,^^5)<br /> | ||
<br /> | <br /> | ||
0-8-13-17 = C E G A = C6<br /> | 0-8-13-17 = C E G A = C6<br /> | ||
| Line 1,876: | Line 1,878: | ||
0-8-13-21 = C E G B = CM7<br /> | 0-8-13-21 = C E G B = CM7<br /> | ||
<br /> | <br /> | ||
0-5-13-16 = C Eb G Av = Cm | 0-5-13-16 = C Eb G Av = Cm,v6<br /> | ||
0-8-13-19 = C E G Bb^ = C | 0-8-13-19 = C E G Bb^ = C,^7<br /> | ||
0-7-13-18-26 = C Ev G Bb D = C9(v3)<br /> | 0-7-13-18-26 = C Ev G Bb D = C9(v3)<br /> | ||
0-7-13-18-26-32 = C Ev G Bb D F^ = C9(v3 | 0-7-13-18-26-32 = C Ev G Bb D F^ = C9(v3)^11<br /> | ||
<br /> | <br /> | ||
You can write out chord progressions using ups/downs notation to name the roots. Here's the first 4 chords of Paul Erlich's 22edo composition &quot;Tibia&quot;:<br /> | You can write out chord progressions using ups/downs notation to name the roots. Here's the first 4 chords of Paul Erlich's 22edo composition &quot;Tibia&quot;:<br /> | ||
G. | G.vM7no5 = &quot;G dot down major seven, no five&quot;<br /> | ||
Eb^.v | Eb^.v,9 = &quot;E-upflat dot down, add nine&quot;<br /> | ||
C7(4) = &quot;C-seven sus-four&quot;<br /> | |||
A7(v3) = &quot;A-seven down-three&quot;<br /> | A7(v3) = &quot;A-seven down-three&quot;<br /> | ||
<br /> | <br /> | ||
| Line 1,912: | Line 1,914: | ||
VII or vI<br /> | VII or vI<br /> | ||
<br /> | <br /> | ||
These are pronounced &quot;down-two&quot;, &quot;up-flat-three&quot;, &quot;down-sharp-four&quot;, etc. Periods are used as before, for consistency, although they are not always needed. Thus 1 - M3 - 5 - vm7 = I | These are pronounced &quot;down-two&quot;, &quot;up-flat-three&quot;, &quot;down-sharp-four&quot;, etc. Periods are used as before, for consistency, although they are not always needed. Thus 1 - M3 - 5 - vm7 = I,v7 = &quot;one down-seven&quot;, 1 - vM3 - 5 - vm7 = I.v7 = &quot;one dot down seven&quot;, and v1 - vM3 - v5 - vm7 = vI7 = &quot;down-one seven&quot;. Here's the &quot;Tibia&quot; chords again:<br /> | ||
<br /> | <br /> | ||
I. | I.vM7no5 = &quot;one dot down major seven, no five&quot;<br /> | ||
^bVI.v | ^bVI.v,9 = &quot;upflat-six dot down, add nine&quot;<br /> | ||
IV7(4) = &quot;four-seven sus-four&quot;<br /> | |||
II7(v3) = &quot;two-seven down-three&quot;<br /> | II7(v3) = &quot;two-seven down-three&quot;<br /> | ||
<br /> | <br /> | ||
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<br /> | <br /> | ||
In chord names, the mid symbol &quot;~&quot; means &quot;exactly midway between major and minor&quot;, hence neutral. This only applies to even-chroma edos. In chroma-2 edos (10, 17, 24, etc.), upminor equals downmajor, and &quot;mid&quot; replaces both terms. In chroma-4 edos (20, 27, 34, etc.), mid replaces both double-upminor and double-downmajor. In 11-edo and 18b-edo, mid replaces both upmajor and downminor.<br /> | In chord names, the mid symbol &quot;~&quot; means &quot;exactly midway between major and minor&quot;, hence neutral. This only applies to even-chroma edos. In chroma-2 edos (10, 17, 24, etc.), upminor equals downmajor, and &quot;mid&quot; replaces both terms. In chroma-4 edos (20, 27, 34, etc.), mid replaces both double-upminor and double-downmajor. In 11-edo and 18b-edo, mid replaces both upmajor and downminor.<br /> | ||
<br /> | |||
Alterations are enclosed in parentheses, additions never are.<br /> | |||
<br /> | <br /> | ||
In perfect EDOs (7, 14, 21, 28 and 35), every interval is perfect, and there is no major or minor. In the following list of chord names, omit major, minor, dim and aug. Substitute up for upmajor and upminor, and down for downmajor and downminor. The C-E-G chord is called &quot;C perfect&quot; or simply &quot;C&quot;. The D-F-A chord is &quot;D perfect&quot; or &quot;D&quot;.<br /> | In perfect EDOs (7, 14, 21, 28 and 35), every interval is perfect, and there is no major or minor. In the following list of chord names, omit major, minor, dim and aug. Substitute up for upmajor and upminor, and down for downmajor and downminor. The C-E-G chord is called &quot;C perfect&quot; or simply &quot;C&quot;. The D-F-A chord is &quot;D perfect&quot; or &quot;D&quot;.<br /> | ||
<br /> | <br /> | ||
A period in a chord name is pronounced as &quot;dot&quot;. For example, C.v = C Ev G is &quot;C dot down&quot;, because &quot;C down&quot; means Cv major = Cv Ev Gv. If there are any words after the up/down, a slight pause suffices, e.g. C.vm = &quot;C downminor&quot; and Cv.m = &quot;C-down minor&quot;. This is analogous to saying &quot;A-flat nine&quot; for Ab C Eb Gb Bb vs. &quot;A flat-nine&quot; for A C# E G Bb. Even if the period doesn't need to be pronounced, it's always acceptable to do so. However C.v7 must be &quot;C dot down-seven&quot; because &quot;C down-seven&quot; is C | A period in a chord name is pronounced as &quot;dot&quot;. For example, C.v = C Ev G is &quot;C dot down&quot;, because &quot;C down&quot; means Cv major = Cv Ev Gv. If there are any words after the up/down, a slight pause suffices, e.g. C.vm = &quot;C downminor&quot; and Cv.m = &quot;C-down minor&quot;. This is analogous to saying &quot;A-flat nine&quot; for Ab C Eb Gb Bb vs. &quot;A flat-nine&quot; for A C# E G Bb. Even if the period doesn't need to be pronounced, it's always acceptable to do so. However C.v7 must be &quot;C dot down-seven&quot; because &quot;C down-seven&quot; is C,v7 = C E G Bbv.<br /> | ||
<br /> | <br /> | ||
Applying &quot;dot up&quot; or &quot;dot down&quot; to a chord raises or lowers the 3rd, and also the 6th or the 7th, if present. Thus &quot;C dot down nine&quot; is the usual C9 chord with the 3rd and 7th lowered: C.v9 = C Ev G Bbv D. A &quot;dot mid&quot; chord has a neutral 3rd and a neutral 6th/7th. The rationale for this rule is that a chord often has a note a perfect fourth or fifth above the 3rd. Furthermore, in many EDOs, upfifths, downfifths, upfourths and downfourths will all be quite dissonant and rarely used in chords. Thus if the 3rd is upped or downed, the 6th or 7th likely would be too. However the 9th likely wouldn't, because that would create an upfifth or a downfifth with the 5th.<br /> | Applying &quot;dot up&quot; or &quot;dot down&quot; to a chord raises or lowers the 3rd, and also the 6th or the 7th or the 11th, if present. Thus &quot;C dot down nine&quot; is the usual C9 chord with the 3rd and 7th lowered: C.v9 = C Ev G Bbv D. A &quot;dot mid&quot; chord has a neutral 3rd and a neutral 6th/7th, and a half-augmented 11th. The rationale for this rule is that a chord often has a note a perfect fourth or fifth above the 3rd. Furthermore, in many EDOs, upfifths, downfifths, upfourths and downfourths will all be quite dissonant and rarely used in chords. Thus if the 3rd is upped or downed, the 6th or 7th likely would be too. However the 9th likely wouldn't, because that would create an upfifth or a downfifth with the 5th. If the 7th is upped or downed, the 11th would be too.<br /> | ||
<br /> | <br /> | ||
<span style="display: block; text-align: left;">To find a chord's name, determine its component notes, then use the following tables. These tables aren't exhaustive, but they do provide enough examples to extrapolate from.</span><br /> | <span style="display: block; text-align: left;">To find a chord's name, determine its component notes, then use the following tables. These tables aren't exhaustive, but they do provide enough examples to extrapolate from.</span><br /> | ||
<br /> | <br /> | ||
<u><strong>Various triads:</strong></u><br /> | <u><strong>Various triads:</strong></u><br /> | ||
C D G = | C D G = C2 = &quot;C two&quot;<br /> | ||
C D^ G = | C D^ G = C(^2) = &quot;C up-two&quot; (not &quot;C-up two&quot;, which would be C^.2 = C^ D^ G^)<br /> | ||
C D^^ G = | C D^^ G = C(^^2) = &quot;C double-up-two&quot;<br /> | ||
<br /> | <br /> | ||
C Eb G = Cm = &quot;C minor&quot; (in perfect EDOs, C = &quot;C&quot; or &quot;C perfect&quot;)<br /> | C Eb G = Cm = &quot;C minor&quot; (in perfect EDOs, C = &quot;C&quot; or &quot;C perfect&quot;)<br /> | ||
| Line 1,953: | Line 1,957: | ||
C E^^ G = C.^^ = &quot;C double-upmajor&quot; or &quot;C dot double-up&quot;<br /> | C E^^ G = C.^^ = &quot;C double-upmajor&quot; or &quot;C dot double-up&quot;<br /> | ||
<br /> | <br /> | ||
C F G = C4 | C F G = C4 = &quot;C four&quot;<br /> | ||
C Fv G = C | C Fv G = C(v4) = &quot;C down-four&quot;<br /> | ||
C Fvv G = C | C Fvv G = C(vv4) = &quot;C double-down-four&quot;<br /> | ||
<br /> | <br /> | ||
C D# G = | C D# G = C(#2) or C(A2) = &quot;C sharp-two&quot; or &quot;C aug-two&quot;<br /> | ||
C Ebb G = C(d3) or C(bb3) = &quot;C dim-three&quot; or &quot;C double-flat-three&quot;<br /> | C Ebb G = C(d3) or C(bb3) = &quot;C dim-three&quot; or &quot;C double-flat-three&quot;<br /> | ||
C E# G = C(#3) or C(A3) = &quot;C sharp-three&quot; or &quot;C aug-three&quot;<br /> | C E# G = C(#3) or C(A3) = &quot;C sharp-three&quot; or &quot;C aug-three&quot;<br /> | ||
C Fb G = C | C Fb G = C(b4) or C(d4) = &quot;C flat-four&quot; or &quot;C dim-four&quot;<br /> | ||
<br /> | <br /> | ||
<u><strong>Altered fifths:</strong></u><br /> | <u><strong>Altered fifths:</strong></u><br /> | ||
| Line 1,966: | Line 1,970: | ||
C Eb Gbv = Cdim(v5) = &quot;C dim down-five&quot;<br /> | C Eb Gbv = Cdim(v5) = &quot;C dim down-five&quot;<br /> | ||
C Eb Gb^ = Cdim(^5) = &quot;C dim up-five&quot;<br /> | C Eb Gb^ = Cdim(^5) = &quot;C dim up-five&quot;<br /> | ||
C Eb^ Gb = C.^dim | C Eb^ Gb = C.^dim = &quot;C up-dim&quot; (in certain EDOs, C~dim = &quot;C mid-dim&quot;)<br /> | ||
C Eb^ Gb^ = C.^dim(^5) = &quot;C up-dim up-five&quot; (in certain EDOs, C~(^b5) = &quot;C mid upflat-five&quot;)<br /> | C Eb^ Gb^ = C.^dim(^5) = &quot;C up-dim up-five&quot; (in certain EDOs, C~(^b5) = &quot;C mid upflat-five&quot;)<br /> | ||
<br /> | <br /> | ||
| Line 1,982: | Line 1,986: | ||
C E^ G#^ = C.^aug(^5) = &quot;C up-aug up-five&quot;<br /> | C E^ G#^ = C.^aug(^5) = &quot;C up-aug up-five&quot;<br /> | ||
<br /> | <br /> | ||
C D# Gb = | C D# Gb = C(#2,b5) = &quot;C sharp-two, flat-five&quot;<br /> | ||
C Ebb Gb = Cdim(d3) or Cdim(bb3) = &quot;C dim dim-three&quot; or &quot;C dim double-flat-three&quot;<br /> | C Ebb Gb = Cdim(d3) or Cdim(bb3) = &quot;C dim dim-three&quot; or &quot;C dim double-flat-three&quot;<br /> | ||
C Eb G# is Cmin(#5) = &quot;C minor sharp-five&quot;<br /> | C Eb G# is Cmin(#5) = &quot;C minor sharp-five&quot;<br /> | ||
C E# G# is Caug(#3) = &quot;C aug sharp-three&quot;<br /> | C E# G# is Caug(#3) = &quot;C aug sharp-three&quot;<br /> | ||
C Fb G# is C | C Fb G# is C(b4,#5) = &quot;C flat-four sharp-five&quot;<br /> | ||
<br /> | <br /> | ||
<u><strong>Seventh chords:</strong></u><br /> | <u><strong>Seventh chords:</strong></u><br /> | ||
| Line 1,992: | Line 1,996: | ||
C Ev G Bb = C7(v3) = &quot;C seven down-three&quot; (in certain EDOs, C7(~3) = &quot;C seven mid-three&quot;)<br /> | C Ev G Bb = C7(v3) = &quot;C seven down-three&quot; (in certain EDOs, C7(~3) = &quot;C seven mid-three&quot;)<br /> | ||
(here &quot;down-three&quot; means downmajor 3rd, not downminor 3rd, because &quot;C7&quot; indicates a major 3rd)<br /> | (here &quot;down-three&quot; means downmajor 3rd, not downminor 3rd, because &quot;C7&quot; indicates a major 3rd)<br /> | ||
C E G Bbv = C | C E G Bbv = C,v7 = &quot;C down-seven&quot; (not &quot;C-down seven&quot;, which would be Cv.7 = Cv Ev Gv Bbv)<br /> | ||
C Ev G Bbv = C.v7 = &quot;C dot down seven&quot; (in certain EDOs, C~ | C Ev G Bbv = C.v7 = &quot;C dot down seven&quot; (in certain EDOs, C~,v7 = &quot;C mid down-seven&quot;)<br /> | ||
C E Gv Bb = C7(v5) = &quot;C seven down-five&quot;<br /> | C E Gv Bb = C7(v5) = &quot;C seven down-five&quot;<br /> | ||
C Ev Gv Bb = C7(v3,v5) = &quot;C seven down-three down-five&quot;<br /> | C Ev Gv Bb = C7(v3,v5) = &quot;C seven down-three down-five&quot;<br /> | ||
C Ev Gv Bbv = C.v7(v5) = &quot;C dot down seven, down-five&quot;<br /> | C Ev Gv Bbv = C.v7(v5) = &quot;C dot down seven, down-five&quot;<br /> | ||
C Ev G Bbvv = C.v | C Ev G Bbvv = C.v,vv7 = &quot;C dot down, double-down seven&quot;<br /> | ||
C E G Bb^ = C | C E G Bb^ = C,^7 = &quot;C up-seven&quot; (in certain EDOs, C,~7 = &quot;C mid-seven&quot;)<br /> | ||
C Ev G Bb^ = C.v | C Ev G Bb^ = C.v,^7 = &quot;C dot down up-seven&quot; (in certain EDOs, C.~7 = &quot;C dot mid-seven&quot;)<br /> | ||
<br /> | <br /> | ||
C Eb G Bb = Cm7 = &quot;C minor seven&quot; (in perfect EDOs, C7 = &quot;C seven&quot;)<br /> | C Eb G Bb = Cm7 = &quot;C minor seven&quot; (in perfect EDOs, C7 = &quot;C seven&quot;)<br /> | ||
C Eb^ G Bb = Cm7(^3) = &quot;C minor seven up-three&quot; (in certain EDOs, C7(~3) = &quot;C seven mid-three&quot;)<br /> | C Eb^ G Bb = Cm7(^3) = &quot;C minor seven up-three&quot; (in certain EDOs, C7(~3) = &quot;C seven mid-three&quot;)<br /> | ||
C Eb G Bb^ = Cm | C Eb G Bb^ = Cm,^7 = &quot;C minor up-seven&quot; (in certain EDOs, Cm,~7 = &quot;C minor mid-seven&quot;)<br /> | ||
C Eb^ G Bb^ = C.^m7 = &quot;C dot up minor-seven&quot; (in certain EDOs, C.~7 = &quot;C dot mid seven&quot;)<br /> | C Eb^ G Bb^ = C.^m7 = &quot;C dot up minor-seven&quot; (in certain EDOs, C.~7 = &quot;C dot mid seven&quot;)<br /> | ||
<br /> | <br /> | ||
C E G B = CM7 = &quot;C major seven&quot; (in perfect EDOs, C7 = &quot;C seven&quot;)<br /> | C E G B = CM7 = &quot;C major seven&quot; (in perfect EDOs, C7 = &quot;C seven&quot;)<br /> | ||
C Ev G B = CM7(v3) = &quot;C major seven down-three&quot;<br /> | C Ev G B = CM7(v3) = &quot;C major seven down-three&quot;<br /> | ||
C E G Bv = C | C E G Bv = C,vM7 = &quot;C downmajor-seven&quot;<br /> | ||
C Ev G Bv = C.vM7 = &quot;C dot down major-seven&quot;<br /> | C Ev G Bv = C.vM7 = &quot;C dot down major-seven&quot;<br /> | ||
<br /> | <br /> | ||
| Line 2,014: | Line 2,018: | ||
C Eb^ Gb Bbb = Cdim7(^3) = &quot;C dim seven up-three&quot; (in certain EDOs, Cdim7(~3) = &quot;C dim seven mid-three&quot;)<br /> | C Eb^ Gb Bbb = Cdim7(^3) = &quot;C dim seven up-three&quot; (in certain EDOs, Cdim7(~3) = &quot;C dim seven mid-three&quot;)<br /> | ||
C Eb Gb^ Bbb = Cdim7(v5) = &quot;C dim seven up-five&quot;<br /> | C Eb Gb^ Bbb = Cdim7(v5) = &quot;C dim seven up-five&quot;<br /> | ||
C Eb Gb Bbb^ = Cdim | C Eb Gb Bbb^ = Cdim,^d7 = &quot;C dim updim-seven&quot;<br /> | ||
C Eb^ Gb Bbb^ = C.^dim7 = &quot;C dot up dim-seven&quot;<br /> | C Eb^ Gb Bbb^ = C.^dim7 = &quot;C dot up dim-seven&quot;<br /> | ||
C Eb^ Gb^ Bbb^ = C.^dim7(^5) = &quot;C dot up dim-seven up-five&quot;<br /> | C Eb^ Gb^ Bbb^ = C.^dim7(^5) = &quot;C dot up dim-seven up-five&quot;<br /> | ||
| Line 2,021: | Line 2,025: | ||
C Eb^ Gb Bb = Cm7(b5,^3) = &quot;C minor seven flat-five up-three&quot; or &quot;C half-dim up-three&quot;<br /> | C Eb^ Gb Bb = Cm7(b5,^3) = &quot;C minor seven flat-five up-three&quot; or &quot;C half-dim up-three&quot;<br /> | ||
C Eb Gb^ Bb = Cm7(^b5) = &quot;C minor seven upflat-five&quot; or &quot;C half-dim up-five&quot;<br /> | C Eb Gb^ Bb = Cm7(^b5) = &quot;C minor seven upflat-five&quot; or &quot;C half-dim up-five&quot;<br /> | ||
C Eb Gb Bb^ = Cdim | C Eb Gb Bb^ = Cdim,^7 = &quot;C dim up-seven&quot; or &quot;C half-dim up-seven&quot;<br /> | ||
C Eb^ Gb^ Bb = Cm7(^b5,^3) = &quot;C minor seven up-three upflat-five&quot; or &quot;C half-dim up-three up-five&quot;<br /> | C Eb^ Gb^ Bb = Cm7(^b5,^3) = &quot;C minor seven up-three upflat-five&quot; or &quot;C half-dim up-three up-five&quot;<br /> | ||
C Eb^ Gb Bb^ = C.^m7(b5) = &quot;C dot up minor-seven flat-five&quot; or &quot;C half-dim up-three up-seven&quot;<br /> | C Eb^ Gb Bb^ = C.^m7(b5) = &quot;C dot up minor-seven flat-five&quot; or &quot;C half-dim up-three up-seven&quot;<br /> | ||
C Eb Gb^ Bb^ = Cdim(^5 | C Eb Gb^ Bb^ = Cdim(^5)^7 = &quot;C dim up-five up-seven&quot; or &quot;C half-dim up-five up-seven&quot;<br /> | ||
C Eb^ Gb^ Bb^ = C.^m7(^b5) = &quot;C dot up minor-seven upflat-five&quot; or &quot;C half-dim up-three up-five up-seven&quot;<br /> | C Eb^ Gb^ Bb^ = C.^m7(^b5) = &quot;C dot up minor-seven upflat-five&quot; or &quot;C half-dim up-three up-five up-seven&quot;<br /> | ||
<br /> | <br /> | ||
C E G Bbb = C | C E G Bbb = C,bb7 or C,d7 = &quot;C double-flat-seven&quot; or &quot;C major dim-seven&quot; (not &quot;C dim-seven&quot; = Cdim7)<br /> | ||
C E G B# is C | C E G B# is C,#7 or C,A7 = &quot;C sharp-seven&quot; or &quot;C major aug-seven&quot; (not &quot;C aug-seven&quot; = Caug7)<br /> | ||
C E G Cb = C | C E G Cb = C,b8 or C,d8 = &quot;C flat-eight&quot; or &quot;C dim-eight&quot;<br /> | ||
<br /> | <br /> | ||
<u><strong>Sixth chords:</strong></u><br /> | <u><strong>Sixth chords:</strong></u><br /> | ||
C E G A = C6 = &quot;C six&quot;<br /> | C E G A = C6 = &quot;C six&quot;<br /> | ||
C Ev G A = C6(v3) = &quot;C six down-three&quot; (in certain EDOs, C6(~3) = &quot;C six mid-three&quot;)<br /> | C Ev G A = C6(v3) = &quot;C six down-three&quot; (in certain EDOs, C6(~3) = &quot;C six mid-three&quot;)<br /> | ||
C E G Av = C | C E G Av = C,v6 = &quot;C down-six&quot; (in certain EDOs, C,~6 = &quot;C mid-six&quot;)<br /> | ||
C Ev G Av = C.v6 = &quot;C dot down six&quot; (in certain EDOs, C.~6 = &quot;C dot mid six&quot;)<br /> | C Ev G Av = C.v6 = &quot;C dot down six&quot; (in certain EDOs, C.~6 = &quot;C dot mid six&quot;)<br /> | ||
<br /> | <br /> | ||
C Eb G A = Cm6 = &quot;C minor six&quot; (in perfect EDOs, C6 = &quot;C six&quot;)<br /> | C Eb G A = Cm6 = &quot;C minor six&quot; (in perfect EDOs, C6 = &quot;C six&quot;)<br /> | ||
C Eb^ G A = Cm6(^3) = &quot;C minor six up-three&quot; (in certain EDOs, C6(~3) = &quot;C six mid three&quot;)<br /> | C Eb^ G A = Cm6(^3) = &quot;C minor six up-three&quot; (in certain EDOs, C6(~3) = &quot;C six mid three&quot;)<br /> | ||
C Eb G Av = Cm | C Eb G Av = Cm,v6 = &quot;C minor down-six&quot; (in certain EDOs, Cm,~6 = &quot;C minor mid-six&quot;)<br /> | ||
C Eb^ G A^ = C.^m6 = &quot;C dot up minor-six&quot;<br /> | C Eb^ G A^ = C.^m6 = &quot;C dot up minor-six&quot;<br /> | ||
C Eb^ G A = Cm6(^3) = &quot;C minor six up-three&quot; (in certain EDOs, C6(~3) = &quot;C six mid-three&quot;)<br /> | C Eb^ G A = Cm6(^3) = &quot;C minor six up-three&quot; (in certain EDOs, C6(~3) = &quot;C six mid-three&quot;)<br /> | ||
<br /> | <br /> | ||
C E G Ab = C | C E G Ab = C,b6 = &quot;C flat-six&quot; (not &quot;C minor-six&quot; because that sounds like &quot;C minor six&quot; = Cm6)<br /> | ||
C E G A# is C | C E G A# is C,#6 = &quot;C sharp-six&quot;<br /> | ||
<br /> | <br /> | ||
<u><strong>Ninth chords:</strong></u><br /> | <u><strong>Ninth chords:</strong></u><br /> | ||
C D E G = C | C D E G = C,9 = &quot;C add nine&quot;<br /> | ||
C D Ev G = C.v | C D Ev G = C.v,9 = &quot;C dot down add nine&quot; or &quot;C downmajor add nine&quot;<br /> | ||
C D^ E G = C | C D^ E G = C,^9 = &quot;C add up-nine&quot;<br /> | ||
C D^ E^ G = C.^ | C D^ E^ G = C.^,^9 = &quot;C dot up add up-nine&quot; or &quot;C upmajor add up-nine&quot;<br /> | ||
<br /> | <br /> | ||
C D E G Bb = C9 = &quot;C nine&quot;<br /> | C D E G Bb = C9 = &quot;C nine&quot;<br /> | ||
| Line 2,057: | Line 2,061: | ||
C Dv E G Bb = C7(v9) = &quot;C seven down-nine&quot; or C9(v9) = &quot;C nine down-nine&quot;<br /> | C Dv E G Bb = C7(v9) = &quot;C seven down-nine&quot; or C9(v9) = &quot;C nine down-nine&quot;<br /> | ||
C D Ev G Bbv = C.v9 = &quot;C dot down nine&quot;<br /> | C D Ev G Bbv = C.v9 = &quot;C dot down nine&quot;<br /> | ||
C Dv Ev G Bb = C7(v3 | C Dv Ev G Bb = C7(v3)v9 = &quot;C seven down-three down-nine&quot;<br /> | ||
C Dv E G Bbv = C | C Dv E G Bbv = C,v7,v9 = &quot;C down-seven down-nine&quot;<br /> | ||
C Dv Ev G Bbv = C.v7 | C Dv Ev G Bbv = C.v7,v9 = &quot;C dot down seven down-nine&quot;<br /> | ||
C Dv Ev Gv Bbv = C.v7(v5 | C Dv Ev Gv Bbv = C.v7(v5)v9 = &quot;C dot down-seven down-five down-nine&quot;<br /> | ||
<br /> | <br /> | ||
C D E G B = CM9 = &quot;C major nine&quot; (in perfect EDOs, C9 = &quot;C nine&quot;)<br /> | C D E G B = CM9 = &quot;C major nine&quot; (in perfect EDOs, C9 = &quot;C nine&quot;)<br /> | ||
| Line 2,072: | Line 2,076: | ||
C D Eb^ G Bb^ = C.^m9 = &quot;C dot up minor-nine&quot; (in certain EDOs, C.~M9 = &quot;C dot mid major nine&quot;)<br /> | C D Eb^ G Bb^ = C.^m9 = &quot;C dot up minor-nine&quot; (in certain EDOs, C.~M9 = &quot;C dot mid major nine&quot;)<br /> | ||
<br /> | <br /> | ||
C Db E G Bb = C7 | C Db E G Bb = C7,b9 = &quot;C seven flat-nine&quot; (in perfect EDOs, C9 = &quot;C nine&quot;)<br /> | ||
C Db Ev G Bb = C7( | C Db Ev G Bb = C7,b9(v3) = &quot;C seven flat-nine down-three&quot;<br /> | ||
C Db E G Bbv = | C Db E G Bbv = C,v7,b9 = &quot;C seven flat-nine down-seven&quot;<br /> | ||
C Dbv E G Bb = C7 | C Dbv E G Bb = C7,vb9 = &quot;C seven downflat-nine&quot;<br /> | ||
C Db Ev G Bbv = C.v7 | C Db Ev G Bbv = C.v7,b9 = &quot;C dot down seven flat-nine&quot;<br /> | ||
C Dbv Ev G Bb = C7(v3 | C Dbv Ev G Bb = C7(v3)vb9 = &quot;C seven down-three downflat-nine&quot;<br /> | ||
C Dbv E G Bbv = C | C Dbv E G Bbv = C,v7,vb9 = &quot;C down-seven downflat-nine&quot;<br /> | ||
C Dbv Ev G Bbv = C.v7 | C Dbv Ev G Bbv = C.v7,vb9 = &quot;C dot down seven downflat-nine&quot;<br /> | ||
<br /> | <br /> | ||
<u><strong>Example EDOs:</strong></u><br /> | <u><strong>Example EDOs:</strong></u><br /> | ||
| Line 2,090: | Line 2,094: | ||
chord roots: I ^I/vII II ^II/vIII III vIII/vIV IV ^IV/vV V ^V/vVI VI ^VI/vVII VII ^VII/vI<br /> | chord roots: I ^I/vII II ^II/vIII III vIII/vIV IV ^IV/vV V ^V/vVI VI ^VI/vVII VII ^VII/vI<br /> | ||
<br /> | <br /> | ||
0-3-8 = D Fv A = D.v = &quot;D dot down&quot;<br /> | 0-3-8 = D Fv A = D.v = &quot;D dot down&quot; or &quot;D downperfect&quot;<br /> | ||
0-4-8 = D F A = D = &quot;D&quot; or &quot;D perfect&quot;<br /> | 0-4-8 = D F A = D = &quot;D&quot; or &quot;D perfect&quot;<br /> | ||
0-5-8 = D F^ A = D.^ = &quot;D dot up&quot;<br /> | 0-5-8 = D F^ A = D.^ = &quot;D dot up&quot;<br /> | ||
| Line 2,099: | Line 2,103: | ||
0-5-9 = D F^ A^ = D.^(^5) = &quot;D dot up, up-five&quot;<br /> | 0-5-9 = D F^ A^ = D.^(^5) = &quot;D dot up, up-five&quot;<br /> | ||
<br /> | <br /> | ||
0-4-8-11 = D F A Cv = D | 0-4-8-11 = D F A Cv = D,v7 = &quot;D down-seven&quot;, or D F A B^ = D,^6 = &quot;D up-six&quot;<br /> | ||
0-3-8-11 = D Fv A Cv = D.v7 = &quot;D dot down seven&quot;<br /> | 0-3-8-11 = D Fv A Cv = D.v7 = &quot;D dot down seven&quot;<br /> | ||
0-5-8-11 = D F^ A B^ = D.^6 = &quot;D dot up six&quot;<br /> | 0-5-8-11 = D F^ A B^ = D.^6 = &quot;D dot up six&quot;<br /> | ||
| Line 2,134: | Line 2,138: | ||
chord components: P1 A2 M2 m2/A3 M3 m3 d3/A4 P4 d4/A5 P5 d5/A6 M6 m6/A7 M7 m7 d7<br /> | chord components: P1 A2 M2 m2/A3 M3 m3 d3/A4 P4 d4/A5 P5 d5/A6 M6 m6/A7 M7 m7 d7<br /> | ||
chord roots: I bI/#II II bII III bIII bbIII/#IV IV bIV/#V V bV/#VI VI bVI VII bVII bbVII/#I<br /> | chord roots: I bI/#II II bII III bIII bbIII/#IV IV bIV/#V V bV/#VI VI bVI VII bVII bbVII/#I<br /> | ||
0-3-9 = D F## A = D(#3) = &quot;D aug-three&quot; (or possibly D Eb A = | 0-3-9 = D F## A = D(#3) = &quot;D aug-three&quot; (or possibly D Eb A = D(b2) = &quot;D dim-two&quot;)<br /> | ||
0-4-9 = D F# A = D = &quot;D&quot; or &quot;D major&quot;<br /> | 0-4-9 = D F# A = D = &quot;D&quot; or &quot;D major&quot;<br /> | ||
0-5-9 = D F A = Dm = &quot;D minor&quot;<br /> | 0-5-9 = D F A = Dm = &quot;D minor&quot;<br /> | ||
0-6-9 = D Fb A = D(bb3) = &quot;D dim-three&quot; (or possibly D G# A = D | 0-6-9 = D Fb A = D(bb3) = &quot;D dim-three&quot; (or possibly D G# A = D(#4) = &quot;D sharp-four&quot;)<br /> | ||
0-5-10 = D F Ab = Ddim = &quot;D dim&quot;<br /> | 0-5-10 = D F Ab = Ddim = &quot;D dim&quot;<br /> | ||
0-6-10 = D Fb Ab = Ddim(bb3) = &quot;D dim dim-three&quot;<br /> | 0-6-10 = D Fb Ab = Ddim(bb3) = &quot;D dim dim-three&quot;<br /> | ||
0-7-9 = D G A = | 0-7-9 = D G A = D4 = &quot;D four&quot;<br /> | ||
0-5-9-13 = D F A C# is DmM7 = &quot;D minor-major&quot;<br /> | 0-5-9-13 = D F A C# is DmM7 = &quot;D minor-major&quot;<br /> | ||
0-4-8-12 = D F# A# C## is Daug | 0-4-8-12 = D F# A# C## is Daug,#7 = &quot;D aug sharp-seven&quot;<br /> | ||
<br /> | <br /> | ||
17edo: D * * E F * * G * * A * * B C * * D, 2 keys per #/b.<br /> | 17edo: D * * E F * * G * * A * * B C * * D, 2 keys per #/b.<br /> | ||
| Line 2,151: | Line 2,155: | ||
0-6-10 = D F# A = D = &quot;D&quot; or &quot;D major&quot;<br /> | 0-6-10 = D F# A = D = &quot;D&quot; or &quot;D major&quot;<br /> | ||
0-5-10-14 = D F^ A C = D7(~3) = &quot;D seven mid-three&quot;<br /> | 0-5-10-14 = D F^ A C = D7(~3) = &quot;D seven mid-three&quot;<br /> | ||
0-4-10-15 = D F A C^ = Dm | 0-4-10-15 = D F A C^ = Dm,~7 = &quot;D minor mid-seven&quot;<br /> | ||
0-5-10-15 = D F^ A C^ = D.~7 = &quot;D dot mid seven&quot;<br /> | 0-5-10-15 = D F^ A C^ = D.~7 = &quot;D dot mid seven&quot;<br /> | ||
0-6-10-15 = D F# A C^ = D | 0-6-10-15 = D F# A C^ = D,~7 = &quot;D mid-seven&quot;<br /> | ||
<br /> | <br /> | ||
19edo: D * * E * F * * G * * A * * B * C * * D, ups and downs not needed.<br /> | 19edo: D * * E * F * * G * * A * * B * C * * D, ups and downs not needed.<br /> | ||
chord components: P1 d2 m2 M2 d3 m3 M3 A3 P4 A4 d5 P5 A5 m6 M6 d7 m7 M7 A7<br /> | chord components: P1 d2 m2 M2 d3 m3 M3 A3 P4 A4 d5 P5 A5 m6 M6 d7 m7 M7 A7<br /> | ||
chord roots: I #I/bbII bII II #II/bbIII bIII III #III/bIV IV #IV bV V #V/bbVI bVI VI bbVII bVII VII #VII/bI<br /> | chord roots: I #I/bbII bII II #II/bbIII bIII III #III/bIV IV #IV bV V #V/bbVI bVI VI bbVII bVII VII #VII/bI<br /> | ||
0-4-11 = D Fb A = D( | 0-4-11 = D Fb A = D(d3) = &quot;D dim-three&quot; (dim 3rd, perfect 5th = approx. 6:7:9)<br /> | ||
0-4-10 = D Fb Ab = Ddim( | 0-4-10 = D Fb Ab = Ddim(d3) = &quot;D dim dim-three&quot;<br /> | ||
0-7-11 = D F## A = D(#3) = &quot;D sharp-three&quot; (aug 3rd, perfect 5th)<br /> | 0-7-11 = D F## A = D(#3) = &quot;D sharp-three&quot; (aug 3rd, perfect 5th)<br /> | ||
0-7-12 = D F## A# is Daug(#3) = &quot;D aug sharp-three&quot;<br /> | 0-7-12 = D F## A# is Daug(#3) = &quot;D aug sharp-three&quot;<br /> | ||
| Line 2,174: | Line 2,178: | ||
0-7-12 = D F^ A = D.^ = &quot;D dot up&quot; (approx. 4:5:6)<br /> | 0-7-12 = D F^ A = D.^ = &quot;D dot up&quot; (approx. 4:5:6)<br /> | ||
0-8-12 = D F^^ A = D.^^ = &quot;D dot double-up&quot;, or D Gv A = D.v4 = &quot;D down-four&quot;<br /> | 0-8-12 = D F^^ A = D.^^ = &quot;D dot double-up&quot;, or D Gv A = D.v4 = &quot;D down-four&quot;<br /> | ||
0-7-12-17 = D F^ A Cv = D.^ | 0-7-12-17 = D F^ A Cv = D.^,v7 = &quot;D dot up down-seven&quot; (approx. 4:5:6:7)<br /> | ||
<br /> | <br /> | ||
24edo: D * * * E * F * * * G * * * A * * * B * C * * * D, 2 keys per #/b.<br /> | 24edo: D * * * E * F * * * G * * * A * * * B * C * * * D, 2 keys per #/b.<br /> | ||
| Line 2,193: | Line 2,197: | ||
0-10-18 = D F# A = D (major)<br /> | 0-10-18 = D F# A = D (major)<br /> | ||
0-11-18 = D F#^ A = D.^= &quot;D dot up&quot; or &quot;D upmajor&quot;<br /> | 0-11-18 = D F#^ A = D.^= &quot;D dot up&quot; or &quot;D upmajor&quot;<br /> | ||
0-12-18 = D Gv A = D | 0-12-18 = D Gv A = D(v4) = &quot;D down-four&quot;<br /> | ||
<br /> | <br /> | ||
41edo: C * * Db C# * * D<br /> | 41edo: C * * Db C# * * D<br /> | ||
| Line 2,217: | Line 2,221: | ||
P1 M2 ~2/M3 ~3 m3 P4 P5 M6 ~6/M7 m6/~7 m7 P8<br /> | P1 M2 ~2/M3 ~3 m3 P4 P5 M6 ~6/M7 m6/~7 m7 P8<br /> | ||
m2 m6 m3 m7 P4 P1 P5 M2 M6 M3 M7<br /> | m2 m6 m3 m7 P4 P1 P5 M2 M6 M3 M7<br /> | ||
0-1-6 = D E A = | 0-1-6 = D E A = D2<br /> | ||
0-2-6 = D F# A = D = &quot;D major&quot;<br /> | 0-2-6 = D F# A = D = &quot;D major&quot;<br /> | ||
0-3-6 = D Fv A = D.~ = &quot;D mid&quot;<br /> | 0-3-6 = D Fv A = D.~ = &quot;D mid&quot;<br /> | ||
0-4-6 = D F A = Dm = &quot;D minor&quot;<br /> | 0-4-6 = D F A = Dm = &quot;D minor&quot;<br /> | ||
0-5-6 = D G A = | 0-5-6 = D G A = D4<br /> | ||
0-2-5 = D F# Av = D(v5) = &quot;D down-five&quot;<br /> | 0-2-5 = D F# Av = D(v5) = &quot;D down-five&quot;<br /> | ||
0-3-5 = D Fv Av = D~(v5) = &quot;D mid down-five&quot;<br /> | 0-3-5 = D Fv Av = D~(v5) = &quot;D mid down-five&quot;<br /> | ||
| Line 2,229: | Line 2,233: | ||
0-3-6-7 = D Fv A B = D6(~3) = &quot;D six up-three&quot;<br /> | 0-3-6-7 = D Fv A B = D6(~3) = &quot;D six up-three&quot;<br /> | ||
0-4-6-7 = D F A B = Dm6<br /> | 0-4-6-7 = D F A B = Dm6<br /> | ||
0-2-6-8 = D F# A C# is DM7, or D F# A B^ = D | 0-2-6-8 = D F# A C# is DM7, or D F# A B^ = D,~6 = &quot;D mid-six&quot;<br /> | ||
0-3-6-8 = D F#^ A C# is DM7(^3) = &quot;D major seven up-three&quot;, or D F#^ A B^ = D.^6 = &quot;D dot up-six&quot;<br /> | 0-3-6-8 = D F#^ A C# is DM7(^3) = &quot;D major seven up-three&quot;, or D F#^ A B^ = D.^6 = &quot;D dot up-six&quot;<br /> | ||
0-3-6-9 = D Fv A Cv = D.~7 = &quot;D dot mid seven&quot;, or D Fv A Bb = D~ | 0-3-6-9 = D Fv A Cv = D.~7 = &quot;D dot mid seven&quot;, or D Fv A Bb = D~,b6 = &quot;D mid flat-six&quot;<br /> | ||
<br /> | <br /> | ||
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