Kite's ups and downs notation: Difference between revisions

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@@ Line 872: / Line 872: @@
 C D# G = C(A2) or C(#2) =  "C aug-two" or "C sharp-two"
-Care must be taken in pronouncing the latter of the two names, that C(#2) doesn't sound like C#2, which is C# D# G#.
+For each chord, care must be taken in pronouncing the latter of the two names, that C(#2) doesn't sound like C#2, which is C# D# G#.
 <u>'''Sixth and seventh chords:'''</u>
@@ Line 886: / Line 886: @@
 C vE G vBb = Cv7 = "C down seven"
-All 7th chords follow this same pattern. Likewise, if a 6th is not a P4 or A4 above the 3rd, it's an "add-6" chord. Permitting add-7 chords has the added benefit that the wordy "minor-7 flat-5" can be replaced with the more concise "dim add-7", written Co,7. "Half-dim" could be used, e.g. C uphalf-dim is C ^Eb Gb ^Bb. But half-dim is problematic because the slash-circle abbreviation for half-dim is hard to type. Also, in many EDOs "half-diminished" can refer to lowering by half a sharp.
+All 7th chords follow this same pattern. Likewise, if a 6th is not a P4 or A4 above the 3rd, it's an "add-6" chord. Permitting add-7 chords has the added benefit that the wordy "minor-7 flat-5" and the illogical "half-dim" can be replaced with "dim add-7", written Co,7.
 In the table below, if a chord is '''bolded''', the comma must be spoken as "add". In non-bolded names, the comma can be omitted when writing the chord, although that might make the chord name less readable.
@@ Line 895: / Line 895: @@
 !dom7
 !min7
-! colspan="2" |half-dim or min7(b5)
+! colspan="3" |min7(b5) or half-dim or dim-add-7
 ! colspan="2" |dim7
-!min-maj
 !maj6
 !min6
@@ Line 905: / Line 904: @@
 !C E G Bb
 !C Eb G Bb
-! colspan="2" |C Eb Gb Bb
+! colspan="3" |C Eb Gb Bb
 ! colspan="2" |C Eb Gb Bbb
-!C Eb G B
 !C E G A
 !C Eb G A
@@ Line 915: / Line 913: @@
 |C7
 |Cm7
-|'''Cdim,7'''
+|Cm7(b5)
+|Cø
 |'''Co,7'''
 |Cdim7
 |Co7
-|Cm,M7
 |C6
 |Cm6
@@ Line 927: / Line 925: @@
 |'''Cv,7'''
 |'''Cvm,7'''
-|'''Cvdim,7'''
+|'''Cvm,7(b5)'''
+|Cø(v3)
 |'''Cvo,7'''
 |Cvdim,d7
 |Cvo,d7
-|Cvm,M7
 |'''Cv,6'''
 |'''Cvm,6'''
 |-
-|6th/7th
+|7th
 |'''C,vM7'''
 |'''C,v7'''
 |Cm,v7
-|Cdim,v7
+|Cm,v7(b5)
+|Cø(v7)
 |Co,v7
 |Cdim,vd7
 |Co,vd7
-|Cm,vM7
 |'''C,v6'''
 |Cm,v6
 |-
-|3rd, 6th/7th
+|3rd, 7th
 |CvM7
 |Cv7
 |Cvm7
-|Cvdim,v7
+|Cvm7(b5)
+|Cvø
 |Cvo,v7
 |Cvdim7
 |Cvo7
-|Cvm,vM7
 |Cv6
 |Cvm6
@@ Line 963: / Line 961: @@
 |C7(v5)
 |Cm7(v5)
-|Cdim(v5)7
+|Cm7(vb5)
+|Cø(v5)
 |Co(v5)7
 |Cdim7(v5)
 |Co7(v5)
-|Cm(v5)M7
 |C6(v5)
 |Cm6(v5)
@@ Line 975: / Line 973: @@
 |Cv(v5)7
 |Cvm(v5)7
-|Cvdim(v5)7
+|'''Cvm,7(vb5)'''
+|Cø(v3,v5)
 |Cvo(v5)7
 |Cvdim(v5)d7
 |Cvo(v5)d7
-|Cvm(v5)M7
 |Cv(v5)6
 |Cvm(v5)6
 |-
-|5th, 6th/7th
+|5th, 7th
 |C(v5)vM7
 |C(v5)v7
 |Cm(v5)v7
-|Cdim(v5)v7
+|Cm,v7(vb5)
+|Cø(v5,v7)
 |Co(v5)v7
 |Cdim(v5)vd7
 |Co(v5)vd7
-|Cm(v5)vM7
 |C(v5)v6
 |Cm(v5)v6
 |-
-|3rd, 5th, 6th/7th
+|3rd, 5th, 7th
 |CvM7(v5)
 |Cv7(v5)
 |Cvm7(v5)
-|Cvdim(v5)v7
+|Cvm7(vb5)
+|Cvø(v5)
 |Cvo(v5)v7
 |Cvdim7(v5)
 |Cvo7(v5)
-|Cvm(v5)vM7
 |Cv6(v5)
 |Cvm6(v5)
 |}
-More examples:
+Various unusual tetrads:
 C vE G ^Bb = Cv,^7 = "C down up-seven" (in EDOs 17, 24, 31, etc. C~7 = "C mid-seven")