Kite's ups and downs notation: Difference between revisions

: This revision was by author [[User:TallKite|TallKite]] and made on <tt>2015-12-18 03:24:24 UTC</tt>.<br>

: The original revision id was <tt>570451013</tt>.<br>

0-7-13-18 in C is "C,vM,m7", pronounced "C downmajor, minor seventh". The comma between the C and the down symbol is needed because Cv is a note, and "Cv,M,m7" is a different chord. That chord is pronounced "C down, major, minor 7th", so one has to "speak the comma". The extra comma isn't needed if there's no ups or downs immediately after the note name, e.g. Cm.

The conventional chord naming system uses a lot of "shorthand" like dom7 for M3,m7 and min6 for m3,M6. This causes problems in 22edo where there are so many choices for the 3rd, the 6th, the 7th and the 9th. For example, min6 could mean m3,vM6 = approximate 6:7:9:10 chord, or it could mean ^m3,M6 = approximate 1/1-6/5-3/2-12/7 chord. Larger edos would present even greater problems. Furthermore there's some ambiguity in the shorthand, e.g. in 12edo, both 0-3-6 and 0-3-6-9 are called dim chords.

Thus the shorthand should be largely abandoned and all the components of the chord should be explicitly spelled out, with a few exceptions: 1) The root, obviously. 2) The perfect 5th is assumed present unless otherwise specified. Thus 0-7-18 is C,vM,m7,no5 and 0-6-11 is C,^m,^d5. 3) The 3rd is also assumed to be present, and to be major, and is implied by a quality with no degree. Thus 0-8-13 is C and 0-7-13 is C,vM. 4) The 3rd isn't spelled out if the 6th or 7th has the same quality as the 3rd. Thus 0-7-13-16 is C,vM6, but 0-7-13-17 is C,vM,M6. Thirdless chords: 0-13-18 is either Cm7,no3 or C5,m7.

 

The 6th, the 7th, the 9th, the 11th, etc. are each explicitly written out, and assumed to be major or perfect, except that the 7th is assumed to be minor. Thus the presence of a 9th doesn't imply the presence of a 7th.

"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, or more exactly a "major, aug five" chord. Likewise d3,P5 is a "dim three chord", and m3,d5 is a "dim" chord, or "minor, dim five" chord.

0-5-11 = m,^d5

0-5-12 = m,vP5 (or possibly m,A4)

0-5-13-16 = m,vM6

0-8-13-19 = M,^m7

0-7-13-18-26 = vM,m7,M9

0-7-13-18-26-32 = vM,m7,M9,^P11

G,vM7,no5 = "G downmajor seven, no five"

Eb^,vM,M9 = "E flat up, downmajor, major nine"

Gm7,no5 (no comma needed) = "G minor seven, no five"

A,vM,m7 = "A downmajor, minor seven"

Here's the Tibia chords. No comma is needed after the root because ups and downs are always leading, never trailing.

IvM7,no5 = "one downmajor seven, no five"

^bVIvM,M9 = "up-flat six downmajor, major nine"

[[image:Tibia in G using ups and downs-2.jpg width="800" height="1130"]]

Not counting the trivial edos 2, 3, 4 and 6, there are only seven such edos. As seen in this diagram, they are the ones to the left of the central line in the light blue region, plus the ones to the right of the central line in the orange region. The ones on the left edge of the blue region are the fourthward ones like 16edo, and have been dealt with already. 23edo can be notated similarly to 16edo by using a fifth of 13\23 instead of 14\23. That leaves only four edos: 8, 11, 13, and 18.

 

 

 

 

 

 

 

 

 

&lt;!-- ws:start:WikiTextLocalImageRule:1374:&amp;lt;img src=&amp;quot;/file/view/The%20fifth%20of%20EDOs%205-53.png/570450231/800x1035/The%20fifth%20of%20EDOs%205-53.png&amp;quot; alt=&amp;quot;&amp;quot; title=&amp;quot;&amp;quot; style=&amp;quot;height: 1035px; width: 800px;&amp;quot; /&amp;gt; --&gt;&lt;img src="/file/view/The%20fifth%20of%20EDOs%205-53.png/570450231/800x1035/The%20fifth%20of%20EDOs%205-53.png" alt="The fifth of EDOs 5-53.png" title="The fifth of EDOs 5-53.png" style="height: 1035px; width: 800px;" /&gt;&lt;!-- ws:end:WikiTextLocalImageRule:1374 --&gt;&lt;br /&gt;

0-7-13-18 in C is &amp;quot;C,vM,m7&amp;quot;, pronounced &amp;quot;C downmajor, minor seventh&amp;quot;. The comma between the C and the down symbol is needed because Cv is a note, and &amp;quot;Cv,M,m7&amp;quot; is a different chord. That chord is pronounced &amp;quot;C down, major, minor 7th&amp;quot;, so one has to &amp;quot;speak the comma&amp;quot;. The extra comma isn't needed if there's no ups or downs immediately after the note name, e.g. Cm.&lt;br /&gt;

&lt;br /&gt;

The conventional chord naming system uses a lot of &amp;quot;shorthand&amp;quot; like dom7 for M3,m7 and min6 for m3,M6. This causes problems in 22edo where there are so many choices for the 3rd, the 6th, the 7th and the 9th. For example, min6 could mean m3,vM6 = approximate 6:7:9:10 chord, or it could mean ^m3,M6 = approximate 1/1-6/5-3/2-12/7 chord. Larger edos would present even greater problems. Furthermore there's some ambiguity in the shorthand, e.g. in 12edo, both 0-3-6 and 0-3-6-9 are called dim chords.&lt;br /&gt;

Thus the shorthand should be largely abandoned and all the components of the chord should be explicitly spelled out, with a few exceptions: 1) The root, obviously. 2) The perfect 5th is assumed present unless otherwise specified. Thus 0-7-18 is C,vM,m7,no5 and 0-6-11 is C,^m,^d5. 3) The 3rd is also assumed to be present, and to be major, and is implied by a quality with no degree. Thus 0-8-13 is C and 0-7-13 is C,vM. 4) The 3rd isn't spelled out if the 6th or 7th has the same quality as the 3rd. Thus 0-7-13-16 is C,vM6, but 0-7-13-17 is C,vM,M6. Thirdless chords: 0-13-18 is either Cm7,no3 or C5,m7.&lt;br /&gt;

The 6th, the 7th, the 9th, the 11th, etc. are each explicitly written out, and assumed to be major or perfect, except that the 7th is assumed to be minor. Thus the presence of a 9th doesn't imply the presence of a 7th.&lt;br /&gt;

&amp;quot;Aug&amp;quot; and &amp;quot;dim&amp;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 = &amp;quot;aug three chord&amp;quot;, not &amp;quot;aug chord&amp;quot;, to distinguish it from the conventional aug chord M3,A5. That chord is still called an aug chord, or more exactly a &amp;quot;major, aug five&amp;quot; chord. Likewise d3,P5 is a &amp;quot;dim three chord&amp;quot;, and m3,d5 is a &amp;quot;dim&amp;quot; chord, or &amp;quot;minor, dim five&amp;quot; chord.&lt;br /&gt;

0-5-11 = m,^d5&lt;br /&gt;

0-5-12 = m,vP5 (or possibly m,A4)&lt;br /&gt;

0-5-13-16 = m,vM6&lt;br /&gt;

0-8-13-19 = M,^m7&lt;br /&gt;

0-7-13-18-26 = vM,m7,M9&lt;br /&gt;

0-7-13-18-26-32 = vM,m7,M9,^P11&lt;br /&gt;

G,vM7,no5 = &amp;quot;G downmajor seven, no five&amp;quot;&lt;br /&gt;

Eb^,vM,M9 = &amp;quot;E flat up, downmajor, major nine&amp;quot;&lt;br /&gt;

Gm7,no5 (no comma needed) = &amp;quot;G minor seven, no five&amp;quot;&lt;br /&gt;

A,vM,m7 = &amp;quot;A downmajor, minor seven&amp;quot;&lt;br /&gt;

Here's the Tibia chords. No comma is needed after the root because ups and downs are always leading, never trailing.&lt;br /&gt;

IvM7,no5 = &amp;quot;one downmajor seven, no five&amp;quot;&lt;br /&gt;

^bVIvM,M9 = &amp;quot;up-flat six downmajor, major nine&amp;quot;&lt;br /&gt;

&lt;!-- ws:start:WikiTextLocalImageRule:1376:&amp;lt;img src=&amp;quot;/file/view/Tibia%20in%20G%20using%20ups%20and%20downs-2.jpg/558356607/800x1130/Tibia%20in%20G%20using%20ups%20and%20downs-2.jpg&amp;quot; alt=&amp;quot;&amp;quot; title=&amp;quot;&amp;quot; style=&amp;quot;height: 1130px; width: 800px;&amp;quot; /&amp;gt; --&gt;&lt;img src="/file/view/Tibia%20in%20G%20using%20ups%20and%20downs-2.jpg/558356607/800x1130/Tibia%20in%20G%20using%20ups%20and%20downs-2.jpg" alt="Tibia in G using ups and downs-2.jpg" title="Tibia in G using ups and downs-2.jpg" style="height: 1130px; width: 800px;" /&gt;&lt;!-- ws:end:WikiTextLocalImageRule:1376 --&gt;&lt;br /&gt;

&lt;!-- ws:start:WikiTextHeadingRule:6:&amp;lt;h2&amp;gt; --&gt;&lt;h2 id="toc3"&gt;&lt;a name="Naming Chords-Chord names in other EDOs"&gt;&lt;/a&gt;&lt;!-- ws:end:WikiTextHeadingRule:6 --&gt;&lt;u&gt;Chord names in other EDOs&lt;/u&gt;&lt;/h2&gt;

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Not counting the trivial edos 2, 3, 4 and 6, there are only seven such edos. As seen in this diagram, they are the ones to the left of the central line in the light blue region, plus the ones to the right of the central line in the orange region. The ones on the left edge of the blue region are the fourthward ones like 16edo, and have been dealt with already. 23edo can be notated similarly to 16edo by using a fifth of 13\23 instead of 14\23. That leaves only four edos: 8, 11, 13, and 18.&lt;br /&gt;

&lt;br /&gt;

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