Kite's ups and downs notation: Difference between revisions
Wikispaces>TallKite **Imported revision 558356613 - Original comment: ** |
Wikispaces>TallKite **Imported revision 558477179 - 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>2015-09- | : This revision was by author [[User:TallKite|TallKite]] and made on <tt>2015-09-07 18:20:06 UTC</tt>.<br> | ||
: The original revision id was <tt> | : The original revision id was <tt>558477179</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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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. | 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, | 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 explicitly written out, | The 6th, the 7th, the 9th, the 11th, etc. are each explicitly written out, and assumed to be major or perfect. Thus the presence of a 9th doesn't imply the presence of a 7th. | ||
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. | ||
"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. | "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 could be called a "major, aug five" chord. Likewise d3,P5 is a "dim three chord", and m3,d5 is a "minor, dim five" chord. | ||
0-5-13 = m | 0-5-13 = m | ||
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The name "major" refers not to the sound but to the function of the chord. If you want to play a I - VIm - IIm - V - I progression without pitch shifts or tonic drift, you can do that in any edo, as long as you use major and minor chords. The notation tells you what kind of chord can be used to play that progression. In 22edo, the chord that you need sounds like a red chord. | The name "major" refers not to the sound but to the function of the chord. If you want to play a I - VIm - IIm - V - I progression without pitch shifts or tonic drift, you can do that in any edo, as long as you use major and minor chords. The notation tells you what kind of chord can be used to play that progression. In 22edo, the chord that you need sounds like a red chord. | ||
In other words, I - VIm - IIm - V - I in JI implies Iy - VIg - IIg - Vy - Iy, but this implication only holds in certain EDOs. The notation tells you which ones. | In other words, I - VIm - IIm - V - I in JI implies Iy - VIg - IIg - Vy - Iy, but this implication only holds in certain EDOs. The notation tells you which ones. If 22edo's downmajor chord 0-7-13 = 0¢-382¢-709¢ were called "major", you wouldn't know that it doesn't work in that progression. | ||
If 22edo's downmajor chord 0-7-13 = 0¢-382¢-709¢ were called "major", you wouldn't know that it | |||
Another example: I7 - bVII7 - IV7 - I7. To make this work, the 7th in the I7 chord must be a minor 7th. in 22edo, that 7th sounds blue. In 19edo, it sounds green. If you want a blue 7th in 19edo, you have to use the downminor 7th, which will cause shifts or drifts in the progression. | Another example: I7 - bVII7 - IV7 - I7. To make this work, the 7th in the I7 chord must be a minor 7th. in 22edo, that 7th sounds blue. In 19edo, it sounds green. If you want a blue 7th in 19edo, you have to use the downminor 7th, which will cause shifts or drifts in the progression. | ||
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The conventional chord naming system uses a lot of &quot;shorthand&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.<br /> | The conventional chord naming system uses a lot of &quot;shorthand&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.<br /> | ||
<br /> | <br /> | ||
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, | 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.<br /> | ||
<br /> | <br /> | ||
The 6th, the 7th, the 9th, the 11th, etc. are explicitly written out, | The 6th, the 7th, the 9th, the 11th, etc. are each explicitly written out, and assumed to be major or perfect. Thus the presence of a 9th doesn't imply the presence of a 7th.<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 /> | ||
<br /> | <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. | &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 could be called a &quot;major, aug five&quot; chord. Likewise d3,P5 is a &quot;dim three chord&quot;, and m3,d5 is a &quot;minor, dim five&quot; chord.<br /> | ||
<br /> | <br /> | ||
0-5-13 = m<br /> | 0-5-13 = m<br /> | ||
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The name &quot;major&quot; refers not to the sound but to the function of the chord. If you want to play a I - VIm - IIm - V - I progression without pitch shifts or tonic drift, you can do that in any edo, as long as you use major and minor chords. The notation tells you what kind of chord can be used to play that progression. In 22edo, the chord that you need sounds like a red chord.<br /> | The name &quot;major&quot; refers not to the sound but to the function of the chord. If you want to play a I - VIm - IIm - V - I progression without pitch shifts or tonic drift, you can do that in any edo, as long as you use major and minor chords. The notation tells you what kind of chord can be used to play that progression. In 22edo, the chord that you need sounds like a red chord.<br /> | ||
<br /> | <br /> | ||
In other words, I - VIm - IIm - V - I in JI implies Iy - VIg - IIg - Vy - Iy, but this implication only holds in certain EDOs. The notation tells you which ones. | In other words, I - VIm - IIm - V - I in JI implies Iy - VIg - IIg - Vy - Iy, but this implication only holds in certain EDOs. The notation tells you which ones. If 22edo's downmajor chord 0-7-13 = 0¢-382¢-709¢ were called &quot;major&quot;, you wouldn't know that it doesn't work in that progression.<br /> | ||
If 22edo's downmajor chord 0-7-13 = 0¢-382¢-709¢ were called &quot;major&quot;, you wouldn't know that it | |||
<br /> | <br /> | ||
Another example: I7 - bVII7 - IV7 - I7. To make this work, the 7th in the I7 chord must be a minor 7th. in 22edo, that 7th sounds blue. In 19edo, it sounds green. If you want a blue 7th in 19edo, you have to use the downminor 7th, which will cause shifts or drifts in the progression.<br /> | Another example: I7 - bVII7 - IV7 - I7. To make this work, the 7th in the I7 chord must be a minor 7th. in 22edo, that 7th sounds blue. In 19edo, it sounds green. If you want a blue 7th in 19edo, you have to use the downminor 7th, which will cause shifts or drifts in the progression.<br /> | ||
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