Kite's ups and downs notation: Difference between revisions
Wikispaces>TallKite **Imported revision 570452423 - Original comment: ** |
Wikispaces>TallKite **Imported revision 570453997 - Original comment: ** |
||
| Line 1: | Line 1: | ||
<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>2015-12-18 04: | : This revision was by author [[User:TallKite|TallKite]] and made on <tt>2015-12-18 04:51:20 UTC</tt>.<br> | ||
: The original revision id was <tt> | : The original revision id was <tt>570453997</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> | ||
| Line 172: | Line 172: | ||
21edo: 1 - ^1 - v2 - 2 - ^2 - v3 - 3 - ^3 - v4 - 4 - ^4 - v5 - 5 - ^5 - v6 - 6 - ^6 - v7 - 7 - ^7 - v8 - 8 | 21edo: 1 - ^1 - v2 - 2 - ^2 - v3 - 3 - ^3 - v4 - 4 - ^4 - v5 - 5 - ^5 - v6 - 6 - ^6 - v7 - 7 - ^7 - v8 - 8 | ||
21edo: C - C^ - Dv - D - D^ - Ev - E - E^ - Fv - F - F^ - Gv - G - G^ - Av - A - A^ - Bv - B - B^ - Cv - C | 21edo: C - C^ - Dv - D - D^ - Ev - E - E^ - Fv - F - F^ - Gv - G - G^ - Av - A - A^ - Bv - B - B^ - Cv - C | ||
Just as ups and downs aren't needed in 19edo, sharps and flats aren't needed in 21edo. One could simply redefine the sharp and flat symbols to mean up and down in perfect EDOs, perhaps to make one's notation software easier to use. But | Just as ups and downs aren't needed in 19edo, sharps and flats aren't needed in 21edo. The sharp symbol actually indicates raising by zero EDOsteps, and F = F#. One could simply redefine the sharp and flat symbols to mean up and down in perfect EDOs, perhaps to make one's notation software easier to use. But this would be confusing because B - F# isn't a perfect fifth because it's really B - F^. | ||
The 3rd special case is when the edo's fifth is wider than 3\5, as in 8edo, 13edo, 18edo and 23edo. Heptatonic fifth-based notation is impossible in these cases. The minor 2nd, which is the sum of five 4ths minus two 8ves, becomes a descending interval. Thus the major 3rd is wider than the perfect 4th, etc. Such EDOs are dealt with below. | The 3rd special case is when the edo's fifth is wider than 3\5, as in 8edo, 13edo, 18edo and 23edo. Heptatonic fifth-based notation is impossible in these cases. The minor 2nd, which is the sum of five 4ths minus two 8ves, becomes a descending interval. Thus the major 3rd is wider than the perfect 4th, etc. Such EDOs are dealt with below. | ||
| Line 207: | Line 207: | ||
These are pronounced "downmajor second", "upminor third", etc. For 4ths and 5ths, "perfect" is implied and can be omitted: ^P4 = "up-four" and vP5 = "down-five". In larger edos there may be "down-octave", "up-unison", etc. | These are pronounced "downmajor second", "upminor third", etc. For 4ths and 5ths, "perfect" is implied and can be omitted: ^P4 = "up-four" and vP5 = "down-five". In larger edos there may be "down-octave", "up-unison", etc. | ||
0-8-13 in C is written "C" and pronounced "C" or "C major". | There are some alternate names. The dim7 of a dim7 chord would be three EDOsteps below a min7 = 15\22 = ^m6. 14\22 could be written as m6 or as vd7. However double-ups and double-downs are to be avoided in 22edo. In larger edos, they would be necessary. Thus 7\22 would never be written ^^m3. | ||
0-8-13 in C is written "C" and pronounced "C" or "C major". | |||
0-7-13 is written "C.v", spoken as "C downmajor" or possibly "C dot down". | 0-7-13 is written "C.v", spoken as "C downmajor" or possibly "C dot down". | ||
The period is needed because "Cv", spoken as "C down", is a note, not a chord. | The period is needed because "Cv", spoken as "C down", is a note, not a chord. | ||
0-6-13 is "C.^m", "C upminor" | 0-6-13 is "C.^m", "C upminor" | ||
0-5-13 is "Cm", "C minor" | 0-5-13 is "Cm", "C minor" | ||
The period isn't needed | The period isn't needed here because there's no ups or downs immediately after the note name. | ||
0- | 0-8-13-18 is "C7", "C seven", a standard C7 chord with a M3 and a m7. | ||
0-7-13-18 is "C7(v3)", "C seven, down third". The altered note or notes are in parentheses. | |||
0-8-13-21 | 0-8-13-21 on C is "CM7", "C major seven". | ||
0-7-13-20 on C is "C.vM7", "C downmajor seven". The down symbol affects both the 3rd and the 7th. | |||
0-8-13-21 on Cv is "Cv.M7", "C down, major seven", so one has to pronounce the period. | |||
Sus chords: as usual, "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. Some larger edos would 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 fourthwards EDOs below for an exception. | Sus chords: as usual, "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. Some larger edos would 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 fourthwards EDOs below for an exception. | ||
| Line 222: | Line 227: | ||
"Aug" and "dim" 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 A3 = "aug three chord", not "aug chord", to distinguish it from the conventional aug chord M3,A5. That chord is still called an aug chord. Likewise d3,P5 is a "dim three chord", and m3,d5 is a "dim" chord. | "Aug" and "dim" 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 A3 = "aug three chord", not "aug chord", to distinguish it from the conventional aug chord M3,A5. That chord is still called an aug chord. Likewise d3,P5 is a "dim three chord", and m3,d5 is a "dim" chord. | ||
0-3-13 = susvM2 | |||
0-4-13 = sus2 | |||
0-5-13 = m | 0-5-13 = m | ||
0-6-13 = ^m | 0-6-13 = ^m | ||
| Line 228: | Line 235: | ||
0-9-13 = sus4 | 0-9-13 = sus4 | ||
0-10-13 = sus^4 | 0-10-13 = sus^4 | ||
0-5-11 = dim(^5) | 0-5-11 = dim(^5) | ||
0-5-12 = m(v5) | 0-5-12 = m(v5) | ||
0-5-10-15 = dim7 ( | 0-5-10-15 = dim7 | ||
0- | 0-5-11-14 = dim7(^5,v7) | ||
0-6- | 0-6-11-15 = dim7(^3,^5) | ||
0-6-11-16 = ^dim7 (the up symbol applies to m3, d5 and d7) | |||
0-5-13-17 = m6 | |||
0-6-12-15 = m6(^3,v5,vv6) or dim7(^3,^^5) (doubled ups/downs are unavoidable) | |||
0-7-13-16 = vM6 | 0-7-13-16 = vM6 | ||
0-8-13-17 = 6 | 0-8-13-17 = 6 | ||
| Line 262: | Line 271: | ||
Here's the Tibia chords. No period is ever needed after the root because ups and downs are always leading, never trailing. | Here's the Tibia chords. No period is ever needed after the root because ups and downs are always leading, never trailing. | ||
IvM7(no5) = "one downmajor seven, no five" | IvM7(no5) = "one downmajor seven, no five" | ||
^ | ^bVIv(add9) = "up-flat six downmajor, add nine" | ||
IV7sus4 = "four seven, sus four" | |||
II7(v3) = "two seven, down three" | |||
| Line 279: | Line 288: | ||
chord components: P1 ^m2 vM2 M2/m3 ^m3 vM3 M3/P4 ^P4 vP5 P5 ^m6 vM6 M6/m7 ^m7 vM7 | chord components: P1 ^m2 vM2 M2/m3 ^m3 vM3 M3/P4 ^P4 vP5 P5 ^m6 vM6 M6/m7 ^m7 vM7 | ||
chord roots: I ^bII vII II/bIII ^bIII vIII III/IV ^IV vV V ^bVI vVI VI/bVII ^bVII vVII | chord roots: I ^bII vII II/bIII ^bIII vIII III/IV ^IV vV V ^bVI vVI VI/bVII ^bVII vVII | ||
0-3-9 = m or sus2 | 0-3-9 = m (or possibly sus2) | ||
0-4-9 = ^m | 0-4-9 = ^m | ||
0-5-9 = vM | 0-5-9 = vM | ||
0-6-9 = M or sus4 | 0-6-9 = M (or possibly sus4) | ||
0-5-9-12 = | 0-5-9-12 = 7(v3) | ||
16edo: D * E * * F * G * A * B * * C * D, 1 key per #/b, ups and downs not needed. # is fourthward. | 16edo: D * E * * F * G * A * B * * C * D, 1 key per #/b, ups and downs not needed. # is fourthward. | ||
| Line 291: | Line 300: | ||
0-4-9 = m | 0-4-9 = m | ||
0-5-9 = M | 0-5-9 = M | ||
0-5-10 = aug | 0-5-10 = aug (the conventional aug chord) | ||
0-6-9 = A3 (aug 3rd, perfect 5th) | 0-6-9 = A3 (aug 3rd, perfect 5th) | ||
0-7-9 = sus4 | 0-7-9 = sus4 | ||
0-4-8-12 = | 0-4-8-12 = dim7 (the conventional dim tetrad) | ||
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 311: | Line 320: | ||
chord roots: I v#I/bII #I/vII II bIII vIII III IV ^IV/bV #IV/vV V #V/bVI vVI VI bVII vVII VII | chord roots: I v#I/bII #I/vII II bIII vIII III IV ^IV/bV #IV/vV V #V/bVI vVI VI bVII vVII VII | ||
0-4-11 = d3 (dim 3rd, perfect 5th) | 0-4-11 = d3 (dim 3rd, perfect 5th) | ||
0-4-10 = | 0-4-10 = dim(d3) | ||
0-5-11 = m | 0-5-11 = m | ||
0-5-10 = dim or m,d5 (conventional dim chord) | 0-5-10 = dim or m,d5 (conventional dim chord) | ||
| Line 877: | Line 886: | ||
21edo: 1 - ^1 - v2 - 2 - ^2 - v3 - 3 - ^3 - v4 - 4 - ^4 - v5 - 5 - ^5 - v6 - 6 - ^6 - v7 - 7 - ^7 - v8 - 8<br /> | 21edo: 1 - ^1 - v2 - 2 - ^2 - v3 - 3 - ^3 - v4 - 4 - ^4 - v5 - 5 - ^5 - v6 - 6 - ^6 - v7 - 7 - ^7 - v8 - 8<br /> | ||
21edo: C - C^ - Dv - D - D^ - Ev - E - E^ - Fv - F - F^ - Gv - G - G^ - Av - A - A^ - Bv - B - B^ - Cv - C<br /> | 21edo: C - C^ - Dv - D - D^ - Ev - E - E^ - Fv - F - F^ - Gv - G - G^ - Av - A - A^ - Bv - B - B^ - Cv - C<br /> | ||
Just as ups and downs aren't needed in 19edo, sharps and flats aren't needed in 21edo. One could simply redefine the sharp and flat symbols to mean up and down in perfect EDOs, perhaps to make one's notation software easier to use. But | Just as ups and downs aren't needed in 19edo, sharps and flats aren't needed in 21edo. The sharp symbol actually indicates raising by zero EDOsteps, and F = F#. One could simply redefine the sharp and flat symbols to mean up and down in perfect EDOs, perhaps to make one's notation software easier to use. But this would be confusing because B - F# isn't a perfect fifth because it's really B - F^.<br /> | ||
<br /> | <br /> | ||
The 3rd special case is when the edo's fifth is wider than 3\5, as in 8edo, 13edo, 18edo and 23edo. Heptatonic fifth-based notation is impossible in these cases. The minor 2nd, which is the sum of five 4ths minus two 8ves, becomes a descending interval. Thus the major 3rd is wider than the perfect 4th, etc. Such EDOs are dealt with below.<br /> | The 3rd special case is when the edo's fifth is wider than 3\5, as in 8edo, 13edo, 18edo and 23edo. Heptatonic fifth-based notation is impossible in these cases. The minor 2nd, which is the sum of five 4ths minus two 8ves, becomes a descending interval. Thus the major 3rd is wider than the perfect 4th, etc. Such EDOs are dealt with below.<br /> | ||
| Line 912: | Line 921: | ||
These are pronounced &quot;downmajor second&quot;, &quot;upminor third&quot;, etc. For 4ths and 5ths, &quot;perfect&quot; is implied and can be omitted: ^P4 = &quot;up-four&quot; and vP5 = &quot;down-five&quot;. In larger edos there may be &quot;down-octave&quot;, &quot;up-unison&quot;, etc.<br /> | These are pronounced &quot;downmajor second&quot;, &quot;upminor third&quot;, etc. For 4ths and 5ths, &quot;perfect&quot; is implied and can be omitted: ^P4 = &quot;up-four&quot; and vP5 = &quot;down-five&quot;. In larger edos there may be &quot;down-octave&quot;, &quot;up-unison&quot;, etc.<br /> | ||
<br /> | <br /> | ||
0-8-13 in C is written &quot;C&quot; and pronounced &quot;C&quot; or &quot;C major&quot;. <br /> | There are some alternate names. The dim7 of a dim7 chord would be three EDOsteps below a min7 = 15\22 = ^m6. 14\22 could be written as m6 or as vd7. However double-ups and double-downs are to be avoided in 22edo. In larger edos, they would be necessary. Thus 7\22 would never be written ^^m3.<br /> | ||
<br /> | |||
0-8-13 in C is written &quot;C&quot; and pronounced &quot;C&quot; or &quot;C major&quot;.<br /> | |||
0-7-13 is written &quot;C.v&quot;, spoken as &quot;C downmajor&quot; or possibly &quot;C dot down&quot;.<br /> | 0-7-13 is written &quot;C.v&quot;, spoken as &quot;C downmajor&quot; or possibly &quot;C dot down&quot;.<br /> | ||
The period is needed because &quot;Cv&quot;, spoken as &quot;C down&quot;, is a note, not a chord.<br /> | The period is needed because &quot;Cv&quot;, spoken as &quot;C down&quot;, is a note, not a chord.<br /> | ||
0-6-13 is &quot;C.^m&quot;, &quot;C upminor&quot;<br /> | 0-6-13 is &quot;C.^m&quot;, &quot;C upminor&quot;<br /> | ||
0-5-13 is &quot;Cm&quot;, &quot;C minor&quot;<br /> | 0-5-13 is &quot;Cm&quot;, &quot;C minor&quot;<br /> | ||
The period isn't needed | The period isn't needed here because there's no ups or downs immediately after the note name.<br /> | ||
<br /> | <br /> | ||
0- | 0-8-13-18 is &quot;C7&quot;, &quot;C seven&quot;, a standard C7 chord with a M3 and a m7.<br /> | ||
0-7-13-18 is &quot;C7(v3)&quot;, &quot;C seven, down third&quot;. The altered note or notes are in parentheses.<br /> | |||
<br /> | <br /> | ||
0-8-13-21 | 0-8-13-21 on C is &quot;CM7&quot;, &quot;C major seven&quot;. <br /> | ||
0-7-13-20 on C is &quot;C.vM7&quot;, &quot;C downmajor seven&quot;. The down symbol affects both the 3rd and the 7th.<br /> | |||
0-8-13-21 on Cv is &quot;Cv.M7&quot;, &quot;C down, major seven&quot;, so one has to pronounce the period.<br /> | |||
<br /> | <br /> | ||
Sus chords: as usual, &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. Some larger edos would 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 fourthwards EDOs below for an exception.<br /> | Sus chords: as usual, &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. Some larger edos would 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 fourthwards EDOs below for an exception.<br /> | ||
| Line 927: | Line 941: | ||
&quot;Aug&quot; and &quot;dim&quot; 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 A3 = &quot;aug three chord&quot;, not &quot;aug chord&quot;, to distinguish it from the conventional aug chord M3,A5. That chord is still called an aug chord. Likewise d3,P5 is a &quot;dim three chord&quot;, and m3,d5 is a &quot;dim&quot; chord.<br /> | &quot;Aug&quot; and &quot;dim&quot; 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 A3 = &quot;aug three chord&quot;, not &quot;aug chord&quot;, to distinguish it from the conventional aug chord M3,A5. That chord is still called an aug chord. Likewise d3,P5 is a &quot;dim three chord&quot;, and m3,d5 is a &quot;dim&quot; chord.<br /> | ||
<br /> | <br /> | ||
0-3-13 = susvM2<br /> | |||
0-4-13 = sus2<br /> | |||
0-5-13 = m<br /> | 0-5-13 = m<br /> | ||
0-6-13 = ^m<br /> | 0-6-13 = ^m<br /> | ||
| Line 933: | Line 949: | ||
0-9-13 = sus4<br /> | 0-9-13 = sus4<br /> | ||
0-10-13 = sus^4<br /> | 0-10-13 = sus^4<br /> | ||
<br /> | <br /> | ||
0-5-11 = dim(^5)<br /> | 0-5-11 = dim(^5)<br /> | ||
0-5-12 = m(v5)<br /> | 0-5-12 = m(v5)<br /> | ||
<br /> | <br /> | ||
0-5-10-15 = dim7 ( | 0-5-10-15 = dim7<br /> | ||
0- | 0-5-11-14 = dim7(^5,v7)<br /> | ||
0-6- | 0-6-11-15 = dim7(^3,^5)<br /> | ||
0-6-11-16 = ^dim7 (the up symbol applies to m3, d5 and d7)<br /> | |||
0-5-13-17 = m6<br /> | |||
<br /> | |||
0-6-12-15 = m6(^3,v5,vv6) or dim7(^3,^^5) (doubled ups/downs are unavoidable)<br /> | |||
0-7-13-16 = vM6<br /> | 0-7-13-16 = vM6<br /> | ||
0-8-13-17 = 6<br /> | 0-8-13-17 = 6<br /> | ||
| Line 967: | Line 985: | ||
Here's the Tibia chords. No period is ever needed after the root because ups and downs are always leading, never trailing.<br /> | Here's the Tibia chords. No period is ever needed after the root because ups and downs are always leading, never trailing.<br /> | ||
IvM7(no5) = &quot;one downmajor seven, no five&quot;<br /> | IvM7(no5) = &quot;one downmajor seven, no five&quot;<br /> | ||
^ | ^bVIv(add9) = &quot;up-flat six downmajor, add nine&quot;<br /> | ||
IV7sus4 = &quot;four seven, sus four&quot;<br /> | |||
II7(v3) = &quot;two seven, down three&quot;<br /> | |||
<br /> | <br /> | ||
<br /> | <br /> | ||
| Line 984: | Line 1,002: | ||
chord components: P1 ^m2 vM2 M2/m3 ^m3 vM3 M3/P4 ^P4 vP5 P5 ^m6 vM6 M6/m7 ^m7 vM7<br /> | chord components: P1 ^m2 vM2 M2/m3 ^m3 vM3 M3/P4 ^P4 vP5 P5 ^m6 vM6 M6/m7 ^m7 vM7<br /> | ||
chord roots: I ^bII vII II/bIII ^bIII vIII III/IV ^IV vV V ^bVI vVI VI/bVII ^bVII vVII<br /> | chord roots: I ^bII vII II/bIII ^bIII vIII III/IV ^IV vV V ^bVI vVI VI/bVII ^bVII vVII<br /> | ||
0-3-9 = m or sus2<br /> | 0-3-9 = m (or possibly sus2)<br /> | ||
0-4-9 = ^m<br /> | 0-4-9 = ^m<br /> | ||
0-5-9 = vM<br /> | 0-5-9 = vM<br /> | ||
0-6-9 = M or sus4<br /> | 0-6-9 = M (or possibly sus4)<br /> | ||
0-5-9-12 = | 0-5-9-12 = 7(v3)<br /> | ||
<br /> | <br /> | ||
16edo: D * E * * F * G * A * B * * C * D, 1 key per #/b, ups and downs not needed. # is fourthward.<br /> | 16edo: D * E * * F * G * A * B * * C * D, 1 key per #/b, ups and downs not needed. # is fourthward.<br /> | ||
| Line 996: | Line 1,014: | ||
0-4-9 = m<br /> | 0-4-9 = m<br /> | ||
0-5-9 = M<br /> | 0-5-9 = M<br /> | ||
0-5-10 = aug | 0-5-10 = aug (the conventional aug chord)<br /> | ||
0-6-9 = A3 (aug 3rd, perfect 5th)<br /> | 0-6-9 = A3 (aug 3rd, perfect 5th)<br /> | ||
0-7-9 = sus4<br /> | 0-7-9 = sus4<br /> | ||
0-4-8-12 = | 0-4-8-12 = dim7 (the conventional dim tetrad)<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 1,016: | Line 1,034: | ||
chord roots: I v#I/bII #I/vII II bIII vIII III IV ^IV/bV #IV/vV V #V/bVI vVI VI bVII vVII VII<br /> | chord roots: I v#I/bII #I/vII II bIII vIII III IV ^IV/bV #IV/vV V #V/bVI vVI VI bVII vVII VII<br /> | ||
0-4-11 = d3 (dim 3rd, perfect 5th)<br /> | 0-4-11 = d3 (dim 3rd, perfect 5th)<br /> | ||
0-4-10 = | 0-4-10 = dim(d3)<br /> | ||
0-5-11 = m<br /> | 0-5-11 = m<br /> | ||
0-5-10 = dim or m,d5 (conventional dim chord)<br /> | 0-5-10 = dim or m,d5 (conventional dim chord)<br /> | ||