Kite's ups and downs notation: Difference between revisions

'''<u>12-edo</u>:''' D * E F * G * A * B C * D, 1 key per sharp/flat, ups and downs not needed

D - D#/Eb - E - F - F#/Gb - G - G#/Ab - A - A#/Bb - B - C - C#/Db - D

P1 - m2 - M2 - m3 - M3 - P4 - A4/d5 - P5 - m6 - M6 - m7 - M7 - P8

'''<u>13b-edo</u>:''' D E * * * F G A B * * * C D, 2 keys per sharp/flat

D - E - ^E/F# - vEb/^F# - Eb/vF - F - G - A - B - ^B/C# - vBb/^C# - Bb/vC - C - D

P1 - M2 - ^M2/M3 - vm2/^M3 - m2/vm3 - m3 - P4 - P5 - M6 - ^M6/M7 - vm6/^M7 - m6/vm7 - m7 - P8

D - E - ^E/Fb - vE#/^Fb - E#/vF - F - G - A - B - ^B/Cb - vB#/^Cb - B#/vC - C - D

P1 - m2 - ^m2/m3 - vM2/^m3 - M2/vM3 - M3 - P4 - P5 - m6 - ^m6/m7 - vM6/^m7 - M6/vM7 - M7 - P8

<u>'''14-edo'''</u>: D * E * F * G * A * B * C * D, zero keys per sharp/flat. Because every interval is perfect, the quality can be omitted

D ^D/vE E ^E/vF F ^F/vG G ^G/vA A ^A/vB B ^B/vC C ^C/vD D

1 ^1/v2 2 ^2/v3 3 ^3/v4 4 ^4/v5 5 ^5/v6 6 ^6/v7 7 ^7/v8 8

'''<u>15-edo</u>:''' D * * E/F * * G * * A * * B/C * * D, 3 keys per sharp/flat

D  ^D  vE  E/F  ^F  vG  G  ^G  vA  A  ^A   vB  B/C  ^C  vD  D

P1 ^m2 vM2 M2/m3 ^m3 vM3 M3/P4 ^4 v5 P5 ^m6 vM6 M6/m7 ^m7 vM7 P8

'''<u>16-edo:</u>''' D * E * * F * G * A * B * * C * D, 1 key per sharp/flat, ups and downs not needed

D Db/E# E Eb F# F Fb/G# G Gb/A# A Ab/B# B Bb C# C Cb/D# D

P1 A2 M2 m2/A3 M3 m3 d3/A4 P4 d4/A5 P5 d5/A6 M6 m6/A7 M7 m7 d7

D D#/Eb E E# Fb F F#/Gb G G#/Ab A A#/Bb B B# Cb C C#/Db D

P1 d2 m2 M2 m3 M3 A3 P4 A4/d5 P5 d6 m6 M6/d7 m7 M7 A7

'''<u>17edo:</u>''' D * * E F * * G * * A * * B C * * D, 2 keys per sharp/flat

D ^D/Eb D#/vE E F ^F/Gb F#/vG G ^G/Ab G#/vA A ^A/Bb A#/vB B C ^C/Db C#/vD D

P1 ^1/m2 A1/~2 M2 m3 ~3 M3 P4 ^4/d5 A4/v5 P5 m6 ~6 M6 m7 ~7 M7 P8  

'''<u>18b-edo</u>:''' D * E * * * F * G * A * B * * * C * D, 2 keys per sharp/flat

D - ^D/vE - E - ^E - Eb/F# - vF - F - ^F/vG - G - ^G/vA - A - ^A/vB - B - ^B - Bb/C# - vC - C - ^C/vD - D

P1 - ^P1/vM2 - M2 - ~2 - m2/M3 - ~3 - m3 - ^m3/v4 - P4 - ^4/v5 - P5 - ^5/vM6 - M6 - ~6 - m6/M7 - ~7 - m7 - ^m2/d8 - P8

D - ^D/vE - E - ^E - E#/Fb - vF - F - ^F/vG - G - ^G/vA - A - ^A/vB - B - ^B - B#/Cb - vC - C - ^C/vD - D

P1 - ^P1/vm2 - m2 - ~2 - mM2/m3 - ~3 - M3 - ^M3/v4 - P4 - ^4/v5 - P5 - ^5/vm6 - m6 - ~6 - M6/m7 - ~7 - M7 - ^M7/d8 - P8

'''<u>19-edo:</u>''' D * * E * F * * G * * A * * B * C * * D, 1 key per sharp/flat, ups and downs not needed

D D# Eb E E#/Fb F F# Gb G G# Ab A A# Bb B B#/Cb C C# Db D

P1 d2 m2 M2 d3 m3 M3 A3 P4 A4 d5 P5 A5 m6 M6 d7 m7 M7 A7

'''<u>20-edo</u>:''' D * * * E/F * * * G * * * A * * * B/C * * * D, 4 keys per sharp/flat

D - ^D - ^^D/vvE - vE - E/F - ^F - ^^F/vvG - vG - G - ^G - ^^G/vvA - vA - A - ^A - ^^A/vvB - vB - B/C - ^C - ^^C/vvD - vD - D

P1/m2 - ^m2 - ~2 - vM2 - M2/m3 - ^m3 - ~3 - vM3 - M3/P4 - ^4 - ^^4/vv5 - v5 - P5/m6 - ^m6 - ~6 - vM6 - M6/m7 - ^m7 - ~7 - vM7 - P8

'''<u>21-edo</u>''': D * * E * * F * * G * * A * * B * * C * * D, zero keys per sharp/flat. Because every interval is perfect, the quality can be omitted

D ^D vE E ^E vF F ^F vG G ^G vA A ^A vB B ^B vC C ^C vD D

1 ^1 v2 2 ^2 v3 3 ^3 v4 4 ^4 v5 5 ^5 v6 6 ^6 v7 7 ^7 v8 8

'''<u>22-edo</u>:''' D * * * E F * * * G * * * A * * * B C * * * D, 3 keys per sharp/flat

D - ^D/Eb - vD#/^Eb - D#/vE - E - F - ^F/Gb - vF#/^Gb - F#/vG - G - ^G/Ab - vG#/^Ab - G#/vA - A etc.

P1 - ^1/m2 - A1/^m2 - vM2 - M2 - m3 - ^m3 - vM3 - M3 - P4 - ^4/d5 - vA4/^d5 - A4/v5 - P5 etc.

'''<u>23-edo</u>:''' D * * E * * * F * * G * * A * * B * * * C * * D, 1 key per sharp/flat, ups or downs not needed

D - Db - E# - E - Eb - Ebb/Fx - F# - F - Fb - G# - G - Gb - A# - A - Ab - B# - B - Bb - Bbb/Cx - C# - C - Cb - D# - D

P1 - d1 - A2 - M2 - m2 - d2/A3 - M3 - m3 - d3 - A4 - P4 - d4 - A5 - P5 - d5 - A6 - M6 - m6 - d6/A7 - M7 - m7 - d7 - A8 - P8

D - D# - Eb - E - E# - Ex/Fbb - Fb - F - F# - Gb - G - G# - Ab - A - A# - Bb - B - B# - Bx/Cbb - Cb - C - C# - Db - D

P1 - A1 - d2 - m2 - M2 - A2/d3 - m3 - M3 - A3 - d4 - P4 - A4 - d5 - P5 - A5 - d6 - m6 - M6 - A6/d7 - m7 - M7 - A7 - d8 - P8

'''<u>24-edo</u>:''' C * * * D * * * E * F * * * G * * * A * * * B * C, 2 keys per sharp/flat

C ^C/vDb C#/Db vD D ^D/vEb D#/Eb vE E ^E/vF F ^F F#/Gb vG G etc.

P1 ^1/vm2 m2 ~2 M2 ^M2/vm3 m3 ~3 M3 ^M3/v4 P4 ^4 A4/d5 v5 P5 etc.

'''<u>31-edo</u>:''' C * * * * D * * * * E * * F * * * * G * * * * A * * * * B * * C, 2 keys per sharp/flat

C ^C C#/vDb ^C#/Db vD D ^D D#/vEb ^D#/Eb vE E ^E vF F ^F F#/vGb ^F#/Gb vG G etc.

P1 ^1/d2 A1/vm2 m2 ~2 M2 ^M2 vm3 m3 ~3 M3 ^M3 v4 P4 ^4 A4 d5 v5 P5 etc.

'''<u>41-edo</u>:''' C * * * * * * D * * * * * * E * * F * * * * * * G * * * * * * A * * * * * * B * * C, 4 keys per sharp/flat

P1 ^1 vm2 m2 ^m2 ~2 vM2 M2 ^M2 vm3 m3 ^m3 ~3 vM3 M3 ^M3 v4 P4 ^4 ~4 vA4/d5 A4/^d5 ~5 v5 P5 etc.

C ^C vDb Db ^Db vvD vD D ^D vEb Eb ^Eb vvE vE E ^E vF F ^F ^^F vF#/Gb F#/^Gb vvG vG G etc.

In perfect EDOs (7, 14, 21, 28 and 35), every interval is perfect, and there is no major or minor. In the following list of chord names, omit major, minor, dim and aug. Substitute up for upmajor and upminor, and down for downmajor and downminor. The C-E-G chord is called "C perfect" or simply "C". The D-F-A chord is "D perfect" or "D".

Applying a "global" up or down to a chord raises or lowers the 3rd, and also the 6th, 7th or 11th, if present. Thus C down-nine is the usual C9 chord with the 3rd and 7th downed: Cv9 = C vE G vBb D. A "global mid" chord has a neutral 3rd and a neutral 6th/7th, and a half-augmented 11th. The rationale for this rule is that a chord often has a note a perfect fourth or fifth above the 3rd. Furthermore, in many EDOs, upfifths, downfifths, upfourths and downfourths will all be quite dissonant and rarely used in chords. Thus if the 3rd is upped or downed, the 6th or 7th likely would be too. However the 9th likely wouldn't, because that would create an upfifth or a downfifth with the 5th. If the 7th is upped or downed, the 11th would be too.

Chord progressions use ups/downs notation to name the roots, e.g. Cv - Gv - vA^m - F or Iv - Vv - vVI^m - IVv. In relative notation, never use lower case roman numerals for minor chords. Write either vIIm or VIIm, never vii.  

<span style="display: block; text-align: left;">To find a chord's name, determine its component notes, then use the following tables. These tables aren't exhaustive, but they do provide enough examples to extrapolate from.</span>

<u>'''Various triads:'''</u>

 

 

C ^D G = C(^2) = "C up-two"

C ^^D G = C(^^2) = "C double-up-two"

 

 

C vEb G = Cvm = "C downminor" (in perfect EDOs, Cv = "C down")

 

C vvEb G = Cvvm = "C double-downminor"

 

 

C ^^Eb G = C^^m = "C double-upminor" (in EDOs 20, 27, 34, 41, etc., C~ = "C mid")

C vE G = Cv = "C downmajor" or "C down" (in EDOs 10, 17, 24, 31, etc., C~ = "C mid")

C vvE G = Cvv = "C double-downmajor" or "C double-down" (in EDOs 20, 27, 34, 41, etc., C~ = "C mid")

C ^E G = C^ = "C upmajor" or "C up"

C ^^E G = C^^ = "C double-upmajor" or "C double-up"

C F G = C4 = "C four"

C vF G = C(v4) = "C down-four"

 

C D# G = C(#2) or C(A2) = "C sharp-two" or "C aug-two"

C E# G = C(#3) or C(A3) = "C sharp-three" or "C aug-three"

C Fb G = C(b4) or C(d4) = "C flat-four" or "C dim-four"

<u>'''Altered fifths:'''</u>

C Eb Gb = Cdim = "C dim" (in perfect EDOs, C = "C" or "C perfect")

 

 

 

C ^Eb Gb = C^dim = "C up-dim" (in certain EDOs, C~dim = "C mid-dim")

 

 

 

 

 

 

C ^E ^G = C^(^5) = "C up up-five" or "C upmajor up-five"

 

C vE vG = Cv(v5) = "C down down-five" or "C downmajor down-five" (in certain EDOs, C~(v5) = "C mid down-five")

 

C E G# is Caug = "C aug" (in perfect EDOs, C = "C" or "C perfect")

 

C E vG# = Caug(v5) = "C aug down-five"

 

C E ^G# = Caug(^5) = "C aug up-five"

 

 

 

C D# Gb = C(#2,b5) = "C sharp-two, flat-five"

<u>'''Seventh chords:'''</u>

C vE G Bb = C7(v3) = "C seven down-three" (in certain EDOs, C7(~3) = "C seven mid-three")

C vE G vBb = Cv7 = "C down seven" (in certain EDOs, C~,v7 = "C mid down-seven")

 

 

 

 

C vE G vvBb = Cv,vv7 = "C down, double-down seven"

C E G ^Bb = C,^7 = "C add up-seven" (in certain EDOs, C,~7 = "C add mid-seven")

C Eb G Bb = Cm7 = "C minor seven" (in perfect EDOs, C7 = "C seven")

 

C ^Eb G Bb = Cm7(^3) = "C minor seven up-three" (in certain EDOs, C7(~3) = "C seven mid-three")

 

C Eb G ^Bb = Cm,^7 = "C minor up-seven" (in certain EDOs, Cm,~7 = "C minor mid-seven")

 

 

C E G B = CM7 = "C major seven" (in perfect EDOs, C7 = "C seven")

 

 

C E G vB = C,vM7 = "C add downmajor-seven"

C vE G vB = CvM7 = "C downmajor-seven"

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

C E G B# is C,#7 or C,A7 = "C sharp-seven" or "C major aug-seven" (not "C aug-seven" = Caug7)

C E G A = C6 = "C six"

 

C vE G A = C6(v3) = "C six down-three" (in certain EDOs, C6(~3) = "C six mid-three")

 

C E G vA = C,v6 = "C add down-six" (in certain EDOs, C,~6 = "C add mid-six")

 

 

 

 

 

 

C ^Eb G A = Cm6(^3) = "C minor six up-three" (in certain EDOs, C6(~3) = "C six mid-three")

 

C E G A# is C,#6 = "C sharp-six"

 

C D vE G = Cv,9 = "C down add nine"

 

 

 

 

 

C D E G ^Bb = C9(^7) = "C nine up-seven" (in certain EDOs, C9(~7) = "C nine mid-seven")

 

C vD E G Bb = C7(v9) = "C seven down-nine" or C9(v9) = "C nine down-nine"

 

 

 

 

C vD vE G vBb = Cv7,v9 = "C down-seven down-nine"

 

C vD vE vG vBb = Cv7(v5)v9 = "C down-seven down-five down-nine"

 

 

 

 

 

 

C D ^Eb G Bb = Cm9(^3) = "C minor nine up-three" (in certain EDOs, C9(~3) = "C nine mid-three")