Kite's color notation: Difference between revisions

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Degrees can be negative: 50/49 = double ruyo negative 2nd = rryy-2. It's a negative 2nd because it goes up in pitch but down the scale: zg5 + rryy-2 = ry4. Negative is different than descending, from ry4 to zg5 is a descending negative 2nd. There are also diminished unisons, which raise the pitch but diminish the quality. For example, if 11/8 is a P4, two of them are a m7 of 121/64 = 1102¢. Going from a yo M7 = 1088¢ up to this m7 raises the pitch, and 121/120 is a d1.

A '''comma''' is 10-50¢, a '''minicomma''' is 1-10¢, and a '''microcomma''' is 0-1¢. These categories allow us to omit the magnitude in the spoken name. Thus sgg2 is not the small gugu 2nd, but simply the gugu comma. The double-large wa negative 2nd (LLw-2, the pyth comma) is simply the wa comma. 81/80 = g1 is the gu comma. LLg-2 (the sum of g1 and LLw-2) is also gu and also a comma, but LLg-2 is not the gu comma, because its odd limit is higher. Thus its name can't be shortened. 3-limit commas such as L3w-2 = (-30, 19) can be abbreviated as w-19, the wa-19 comma.

A '''comma''' is 10-50¢, a '''minicomma''' is 1-10¢, and a '''microcomma''' is 0-1¢. These categories allow us to omit the magnitude and degree in the spoken name. Thus sgg2 is not the small gugu 2nd, but simply the gugu comma. The double-large wa negative 2nd (LLw-2, the pyth comma) is simply the wa comma. 81/80 = g1 is the gu comma. LLg-2 (the sum of g1 and LLw-2) is also gu and also a comma, but LLg-2 is not the gu comma, because its odd limit is higher. Thus its name can't be shortened. 3-limit commas such as L3w-2 = (-30, 19) can be abbreviated as w-19, the wa-19 comma.

== Note Names ==

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[[File:Notation example 2.png|786x786px]]

Color notation can optionally be made more similar to Sagittal notation by including two more accidentals, p and q (long forms po and qu = "ku"), to indicate raising/lowering by a pythagorean comma. For example, yF# = ypGb, and zEb = zqD#. This allows trills to always be written as a 2nd, less cluttered.[[File:Notation example 5a.png|992x992px]]

Color notation can optionally be made more similar to Sagittal notation by including two more accidentals, p and q (long forms '''po''' and '''qu''' = "ku"), to indicate raising/lowering by a pythagorean comma. (See [http://tallkite.com/misc_files/Sagittal-JI-Translated-To-Colors.png Sagittal-JI-Translated-To-Colors.png].) For example, yF# = ypGb, and zEb = zqD#. This allows trills to always be written as a 2nd, less cluttered.[[File:Notation example 5a.png|992x992px]]

L and s never appear on the staff. Tripled colors are written as y3 not yyy. In MuseScore, color accidentals are made by adding fingerings to the notes, then editing the fingering text. The font used here is Arial Black.

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Alterations are always in parentheses, additions never are, e.g. z7(zg5) and z,y6. An alteration's degree must match a note in the chord, e.g. Cz7(y6) is invalid. But an exception is made for sus chords, where degree 2 or 4 alter the 3rd: C(z4) = w1 z4 w5. The sus note defaults to wa: Cy9(4) = w1 w4 w5 y7 w9.

Omissions are indicated by "no", the Hendrix chord might be Ch7z10no5. Enharmonic substitutions aren't allowed, 7/3 is a ~~m10~~, not ~~an A9~~. A no3 tetrad can also be written as a 5 chord with an added 6th or 7th: Cy6no3 = C5y6, and Cz7(zg5)no3 = C(zg5)z7.

Omissions are indicated by "no", the Hendrix chord might be Ch7z10no5. Enharmonic substitutions aren't allowed, unless using po and qu. 7/3 is a 10th, not a 9th. A no3 tetrad can also be written as a 5 chord with an added 6th or 7th: Cy6no3 = C5y6, and Cz7(zg5)no3 = C(zg5)z7.

The y,z7 chord is also called the h7 chord ("aitch-seven"), because it's part of the harmonic series. The s7 ("sub-seven") chord is part of the subharmonic series. It's the first 7 subharmonics, with the 3rd subharmonic becoming the root. Note that s7 has no 7th. Ch9 = y,z7,w9 and Ch11 = y,z7,w9,1o11. Cs9 = g,r6,w11 and Cs11 = g,r6,w11,1u9. All harmonic numbers must be odd, Ch8 is invalid. Additions refer to harmonics or subharmonics, not degrees: Cs7,11 adds 1u9, not w11. To add w11, use colors: Cs7,w11. Alterations and omissions refer to degrees, not (sub)harmonics; Cs7(zg5) alters the w5, not the 5th subharmonic g3. Ch9no5 omits w5, not y3. However, Ch19no15 refers to the 15th harmonic, since degrees above 13 aren't conventionally used.

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== Ups and Downs, Lifts and Drops ==

Color notation merely renames ratios more conveniently, and strictly speaking, it only applies to just intonation. However, ratios are often used to loosely describe edo notes, and colors can be used as well. A more precise application is to use ups and downs (^ and v) as "virtual colors", accidentals that always map to exactly one edostep. Ups and downs are used on the score just like color accidentals are. Notes are named e.g. up C sharp = ^C#. Unlike actual colors, virtual colors generally add up to something simpler, e.g. 3 of 22edo's ups adds up to an A1. Unlike actual colors, major, minor, etc~~. are used in names~~. Intervals are named upmajor 3rd = ^M3, down 4th = v4, etc. Chords are named upminor 7th = ^m7, etc.

Color notation merely renames ratios more conveniently, and strictly speaking, it only applies to just intonation. However, ratios are often used to loosely describe edo notes, and colors can be used as well. A more precise application is to use ups and downs (^ and v) as "virtual colors", accidentals that always map to exactly one edostep. Ups and downs are used on the score just like color accidentals are. Notes are named e.g. up C sharp = ^C#. Unlike actual colors, virtual colors generally add up to something simpler, e.g. 3 of 22edo's ups adds up to an A1. Unlike actual colors, virtual colors combine with major, minor, etc. Intervals are named upmajor 3rd = ^M3, down 4th = v4, etc. Chords are named upminor 7th = ^m7, etc.

Rank-2 temperaments can be notated with ups and downs as well. Some require an additional pair of virtual colors, lifts and drops (/ and \). See [[Pergen|pergens]].

@@ Line 163: / Line 163: @@
 Degrees can be negative: 50/49 = double ruyo negative 2nd = rryy-2. It's a negative 2nd because it goes up in pitch but down the scale: zg5 + rryy-2 = ry4. Negative is different than descending, from ry4 to zg5 is a descending negative 2nd. There are also diminished unisons, which raise the pitch but diminish the quality. For example, if 11/8 is a P4, two of them are a m7 of 121/64 = 1102¢. Going from a yo M7 = 1088¢ up to this m7 raises the pitch, and 121/120 is a d1.
-A '''comma''' is 10-50¢, a '''minicomma''' is 1-10¢, and a '''microcomma''' is 0-1¢. These categories allow us to omit the magnitude in the spoken name. Thus sgg2 is not the small gugu 2nd, but simply the gugu comma. The double-large wa negative 2nd (LLw-2, the pyth comma) is simply the wa comma. 81/80 = g1 is the gu comma. LLg-2 (the sum of g1 and LLw-2) is also gu and also a comma, but LLg-2 is not <u>the</u> gu comma, because its odd limit is higher. Thus its name can't be shortened. 3-limit commas such as L<sup>3</sup>w-2 = (-30, 19) can be abbreviated as w-19, the wa-19 comma.
+A '''comma''' is 10-50¢, a '''minicomma''' is 1-10¢, and a '''microcomma''' is 0-1¢. These categories allow us to omit the magnitude and degree in the spoken name. Thus sgg2 is not the small gugu 2nd, but simply the gugu comma. The double-large wa negative 2nd (LLw-2, the pyth comma) is simply the wa comma. 81/80 = g1 is the gu comma. LLg-2 (the sum of g1 and LLw-2) is also gu and also a comma, but LLg-2 is not <u>the</u> gu comma, because its odd limit is higher. Thus its name can't be shortened. 3-limit commas such as L<sup>3</sup>w-2 = (-30, 19) can be abbreviated as w-19, the wa-19 comma.
 == Note Names ==
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 [[File:Notation example 2.png|786x786px]]
-Color notation can optionally be made more similar to Sagittal notation by including two more accidentals, p and q (long forms po and qu = "ku"), to indicate raising/lowering by a pythagorean comma. For example, yF# = ypGb, and zEb = zqD#. This allows trills to always be written as a 2nd, less cluttered.[[File:Notation example 5a.png|992x992px]]
+Color notation can optionally be made more similar to Sagittal notation by including two more accidentals, p and q (long forms '''po''' and '''qu''' = "ku"), to indicate raising/lowering by a pythagorean comma. (See [http://tallkite.com/misc_files/Sagittal-JI-Translated-To-Colors.png Sagittal-JI-Translated-To-Colors.png].) For example, yF# = ypGb, and zEb = zqD#. This allows trills to always be written as a 2nd, less cluttered.[[File:Notation example 5a.png|992x992px]]
 L and s never appear on the staff. Tripled colors are written as y3 not yyy. In MuseScore, color accidentals are made by adding fingerings to the notes, then editing the fingering text. The font used here is Arial Black.
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 <u>Alterations are always in parentheses</u>, additions never are, e.g. z7(zg5) and z,y6. An alteration's degree must match a note in the chord, e.g. Cz7(y6) is invalid. But an exception is made for sus chords, where degree 2 or 4 alter the 3rd: C(z4) = w1 z4 w5. The sus note defaults to wa: Cy9(4) = w1 w4 w5 y7 w9.
-Omissions are indicated by "no", the Hendrix chord might be Ch7z10no5. <u>Enharmonic substitutions aren't allowed</u>, 7/3 is a m10, not an A9. A no3 tetrad can also be written as a 5 chord with an added 6th or 7th: Cy6no3 = C5y6, and Cz7(zg5)no3 = C(zg5)z7.
+Omissions are indicated by "no", the Hendrix chord might be Ch7z10no5. <u>Enharmonic substitutions aren't allowed</u>, unless using po and qu. 7/3 is a 10th, not a 9th. A no3 tetrad can also be written as a 5 chord with an added 6th or 7th: Cy6no3 = C5y6, and Cz7(zg5)no3 = C(zg5)z7.
 The y,z7 chord is also called the h7 chord ("aitch-seven"), because it's part of the harmonic series. The s7 ("sub-seven") chord is part of the subharmonic series. It's the first 7 subharmonics, with the 3rd subharmonic becoming the root. Note that s7 has no 7th. Ch9 = y,z7,w9 and Ch11 = y,z7,w9,1o11. Cs9 = g,r6,w11 and Cs11 = g,r6,w11,1u9. All harmonic numbers must be odd, Ch8 is invalid. <u>Additions refer to harmonics or subharmonics</u>, not degrees: Cs7,11 adds 1u9, not w11. To add w11, use colors: Cs7,w11.  <u>Alterations and omissions refer to degrees</u>, not (sub)harmonics; Cs7(zg5) alters the w5, not the 5th subharmonic g3. Ch9no5 omits w5, not y3. However, Ch19no15 refers to the 15th harmonic, since degrees above 13 aren't conventionally used.
@@ Line 261: / Line 261: @@
 == Ups and Downs, Lifts and Drops ==
-Color notation merely renames ratios more conveniently, and strictly speaking, it only applies to just intonation. However, ratios are often used to loosely describe edo notes, and colors can be used as well. A more precise application is to use ups and downs (^ and v) as "virtual colors", accidentals that always map to exactly one edostep. Ups and downs are used on the score just like color accidentals are. Notes are named e.g. up C sharp = ^C#. Unlike actual colors, virtual colors generally add up to something simpler, e.g. 3 of 22edo's ups adds up to an A1. Unlike actual colors, major, minor, etc. are used in names. Intervals are named upmajor 3rd = ^M3, down 4th = v4, etc. Chords are named upminor 7th = ^m7, etc.
+Color notation merely renames ratios more conveniently, and strictly speaking, it only applies to just intonation. However, ratios are often used to loosely describe edo notes, and colors can be used as well. A more precise application is to use ups and downs (^ and v) as "virtual colors", accidentals that always map to exactly one edostep. Ups and downs are used on the score just like color accidentals are. Notes are named e.g. up C sharp = ^C#. Unlike actual colors, virtual colors generally add up to something simpler, e.g. 3 of 22edo's ups adds up to an A1. Unlike actual colors, virtual colors combine with major, minor, etc. Intervals are named upmajor 3rd = ^M3, down 4th = v4, etc. Chords are named upminor 7th = ^m7, etc.
 Rank-2 temperaments can be notated with ups and downs as well. Some require an additional pair of virtual colors, lifts and drops (/ and \). See [[Pergen|pergens]].