Kite's color notation/Translations: Difference between revisions
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== Explanation == | == Explanation == | ||
[[color notation|Color]] notation, [[Ups and Downs Notation|Ups and Downs]] notation, and [[Pergen|Pergens]] notation can all be translated into other languages. Just like conventional notation, | [[color notation|Color]] notation, [[Ups and Downs Notation|Ups and Downs]] notation, and [[Pergen|Pergens]] notation can all be translated into other languages. Just like conventional notation, staff notation must be universal, and not vary by language. Many terms can be translated, but a few terms can't be. Just as one must learn a few Italian words like allegro and andante to read conventional staff notation, one must learn a few English words to read color notation. Fortunately, the full word needn't be learned, just the first letter. | ||
The color accidentals w, y, g, z and r must not vary. Spanish speakers shouldn't translate yellow into amarillo, and then shorten it to amo or mo. In order for terms such as 1o, 3u, 17a, etc. to be universal, -o, -u and -a for over, under and all must not vary. Thus wa, yo, gu, zo and ru are also invariant. | The color accidentals w, y, g, z and r must not vary. Spanish speakers shouldn't translate yellow into amarillo, and then shorten it to amo or mo. In order for terms such as 1o, 3u, 17a, etc. to be universal, -o, -u and -a for over, under and all must not vary. Thus wa, yo, gu, zo and ru are also invariant. Po and qu and p and q are invariant. | ||
Not only staff notation but also written chord names must not vary. Ch7 and Cs7 are invariant, thus h and s are also invariant. The words harmonic and subharmonic can vary. | Not only staff notation but also written chord names must not vary. Ch7 and Cs7 are invariant, thus h and s are also invariant. The words harmonic and subharmonic can vary, and are generally abbreviated to make a concise chord name. | ||
All colors for primes 11 and higher can vary. In many European languages, tho/thu/tha becomes tro/tru/tra. Spanish for 11 is once, and lo/lu/la might become onco/oncu/onca. Or it might remain lo/lu/la, for conciseness. If so, a helpful mnemonic is lavender, since most Western and even some Asian languages have a word very similar to it. Italian for 11 is undici, suggesting uno/unu/una. But if 1o is uno, an "uno chord" would also be a "one chord". Thus 1o becomes either undo/undu/unda or perhaps unó/unu/una, with the accent distinguishing unó from uno. | All colors for primes 11 and higher can vary. In many European languages, tho/thu/tha becomes tro/tru/tra. Spanish for 11 is once, and lo/lu/la might become onco/oncu/onca. Or it might remain lo/lu/la, for conciseness. If so, a helpful mnemonic is lavender, since most Western and even some Asian languages have a word very similar to it. Italian for 11 is undici, suggesting uno/unu/una. But if 1o is uno, an "uno chord" would also be a "one chord". Thus 1o becomes either undo/undu/unda or perhaps unó/unu/una, with the accent distinguishing unó from uno. | ||
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The short form of temperament names and subgroup names must not vary, because they are likely to be written at the top of the score. In such names, primes 11 and higher must be written in their numeric form. Thus on the score the thulu temperament is written 3u1uT, and the yalatha subgroup is written ya1a3a. | The short form of temperament names and subgroup names must not vary, because they are likely to be written at the top of the score. In such names, primes 11 and higher must be written in their numeric form. Thus on the score the thulu temperament is written 3u1uT, and the yalatha subgroup is written ya1a3a. | ||
The disambiguation prefix i- is invariant, and is used as needed in all languages. Disambiguation is only necessary if the other word needs to be used in a musical context. The note C sounds like sea, but there's no problem, because noone ever needs to discuss a "sea chord". But "no" as in no5 and nowa is invariant, therefore 19o must be ino in most European languages. | The disambiguation prefix i- is invariant, and is used as needed in all languages. Disambiguation is only necessary if the other word needs to be used in a musical context. The note C sounds like sea, but there's no problem, because noone ever needs to discuss a "sea chord". But "no" as in no5 and nowa is invariant, therefore 19o must be ino in most European languages. | ||
Sometimes one color needs disambiguation from another. In Latin American Spanish, z and s sound the same, and zo and so are a problem. The rule is to add i- to the higher prime's color. Zo is pronounced "so", and 17o is pronounced "iso". I- is used even when 17o is not alone, thus 17oz is isozo. 17o is written as iso not so, to match the pronunciation. Sa becomes isa, to differentiate it from za. Su needn't change to isu, but might for consistency. In complex colors, -i- can no longer be used to delimit quad and quint, and -a- must be used instead: quadnuiso = 19u417o4, and quadnuaiso = 19u417o. | Sometimes one color needs disambiguation from another. In Latin American Spanish, z and s sound the same, and zo and so are a problem. The rule is to add i- to the higher prime's color. Zo is pronounced "so", and 17o is pronounced "iso". I- is used even when 17o is not alone, thus 17oz is isozo. 17o is written as iso not so, to match the pronunciation. Sa becomes isa, to differentiate it from za. Su needn't change to isu, but might for consistency. In complex colors, -i- can no longer be used to delimit quad and quint, and -a- must be used instead: quadnuiso = 19u417o4, and quadnuaiso = 19u417o. | ||
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Roman numerals are invariant, for chord progressions. P, M, m, A and d are invariant, for chord names and pergens. The spoken terms are of course translated into the usual terms for perfect, major, minor, etc. Many countries have adopted jazz chord names such as CM7, even if their word for major is dur. Pergens are never written on the score as quarter-fifth, but as (P8, P5/4). A pergen's enharmonic interval is written as C^^ = C♯. Edos are indicated as ^1 = 1\31. | Roman numerals are invariant, for chord progressions. P, M, m, A and d are invariant, for chord names and pergens. The spoken terms are of course translated into the usual terms for perfect, major, minor, etc. Many countries have adopted jazz chord names such as CM7, even if their word for major is dur. Pergens are never written on the score as quarter-fifth, but as (P8, P5/4). A pergen's enharmonic interval is written as C^^ = C♯. Edos are indicated as ^1 = 1\31. | ||
L and s are also invariant, but the spoken words large and small can be translated. This is analogous to an English speaker seeing "f" or "p" on a score and thinking loud/soft, not forte/piano. The translated words must not have any musical connotations such as major/minor or augmented/diminished or largo (slow tempo). | |||
The symbols ^ v / \ ~ are invariant, but the terms up, down, lift, drop and mid can vary. Up and down may possibly be translated as above/below or top/bottom. Lift/drop may be translated as raise/lower. Lift and drop should be translated into verbs, since ^ is high, but / starts low and goes high. Preferably transitive verbs, drop not fall. All five terms should be words not usually applied to notes or clefs or melodies or intervals, e.g. not high/low or treble/bass or rising/falling or neutral. In temperament names, both "and" and "plus" should have distinct names. | The symbols ^ v / \ ~ are invariant, but the terms up, down, lift, drop and mid can vary. Up and down may possibly be translated as above/below or top/bottom. Lift/drop may be translated as raise/lower. Lift and drop should be translated into verbs, since ^ is high, but / starts low and goes high. Preferably transitive verbs, drop not fall. All five terms should be words not usually applied to notes or clefs or melodies or intervals, e.g. not high/low or treble/bass or rising/falling or neutral. In temperament names, both "and" and "plus" should have distinct names. | ||
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|h | |h | ||
|aitch? | |aitch? | ||
|natur? | har? | ||
|aitch? | |||
natur? | |||
| | | | ||
|hache? | |hache? | ||
armo? | |||
| | | | ||
| | | | ||
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| | | | ||
|4thwd | |4thwd | ||
| | |quartwärts? | ||
| | | | ||
|a cuarta | |a cuarta | ||
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| | | | ||
|5thwd | |5thwd | ||
| | |quintwärts? | ||
| | | | ||
|a quinta | |a quinta | ||
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'''<u>Notes</u>:''' | '''<u>Notes</u>:''' | ||
In Germany, the Czech Republic, Slovakia, Poland, Hungary | In Germany, the Czech Republic, Slovakia, Poland, Hungary, Serbia, Croatia, Slovenia, Norway, Denmark, Finland and Iceland (and Sweden before about 1990s), B natural is called H and B flat is called B. H7 must be distinguished from h7. | ||
Another approach is to abbreviate the German word for harmonic series, Naturtonreihe, perhaps as Natur-. h7 would be NaturSieben. | One possible solution is to have the English and e.g. German pronunciations of the letter distinguish h from H. "Aitch sieben" = h7 = w1 y3 w5 z7, and "ha sieben" = H7 = H D♯ F♯ A. Another approach is to abbreviate the German word for harmonic series, Naturtonreihe, perhaps as Natur-. h7 would be NaturSieben. | ||
Spanish: the "c" in onco / oncu / onca is pronounced "s", as in once. (''Should it be onzo / onzu / onza?'') | '''Spanish:''' the "c" in onco / oncu / onca is pronounced "s", as in once. (''Should it be onzo / onzu / onza?'' ''onso / onsu / onsa?'') 17o is so, not iso, because so and Sol sound distinctly different. | ||
== Eastern European languages == | == Eastern European languages == | ||
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'''<u>Notes</u>:''' | '''<u>Notes</u>:''' | ||
'''Korean:''' -u for -under is | '''Korean:''' -u for -under is -유 -yu. Thus gu for 5u is "gyu", ru for 7u is "ryu", and guu for 19u is "guyu". | ||