Kite's ups and downs notation: Difference between revisions

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==Chords and Chord Progressions==

Chord names are based on jazz chord names. See Jim Aiken's book ''A Player's Guide to Chords & Harmony'' . Alterations are enclosed in parentheses, additions never are.

Chord names are based on jazz chord names. See Jim Aiken's book ''A Player's Guide to Chords & Harmony''. Alterations are enclosed in parentheses, additions never are.

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".

An up or down between the chord root and the chord type (e.g. C^m7) ~~is called a "global" up or down. Adding one 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 mid 3rd, 6th, 7th, and/or 11th. ~~Global affects~~ every other note of a stacked-3rds chord with a 6th below the root: '''6th''' - root - '''3rd''' - 5th - '''7th''' - 9th - '''11th''' - 13th.

An up or down between the chord root and the chord type (e.g. C^m7) 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 mid-something chord has a mid 3rd, 6th, 7th, and/or 11th. Mnemonic: every other note of a stacked-3rds chord with a 6th below the root is affected: '''6th''' - root - '''3rd''' - 5th - '''7th''' - 9th - '''11th''' - 13th.

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. By the same logic, if the 7th is upped or downed, the 11th would be too.

Every conventional chord can accept ~~a global~~ up or down, with one exception: it's pointless to ~~apply a global~~ down to a C5 chord, because there is no 3rd, 6th or 7th to alter. Thus Cv5 is invalid, and "C down-5" means C(v5) = C E vG.

Every conventional chord can accept such an up or down, with one exception: it's pointless to down a C5 chord, because there is no 3rd, 6th or 7th to alter. Thus Cv5 is invalid, and "C down-5" means C(v5) = C E vG.

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.

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, because both vIIm and VIIm would be written vii.

The major chord and various alterations of it:

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Many EDOs have notes between the major 3rd and the perfect 4th, creating triads impossible in 12-edo, such as:

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

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

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

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

* C Ebb G = C(d3) or C(bb3) = "C dim-three" or "C double-flat-three"

* C Ebb G = C(d3) or C(bb3) = "C dim-three" or "C sus-double-flat-three"

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

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

~~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#.

The "sus" is needed so that C(#2) doesn't sound like C#2, which is C# D# G#.

'''Sixth and seventh chords:'''

@@ Line 793: / Line 793: @@
 ==Chords and Chord Progressions==
-Chord names are based on jazz chord names. See Jim Aiken's book ''A Player's Guide to Chords & Harmony'' . Alterations are enclosed in parentheses, additions never are.
+Chord names are based on jazz chord names. See Jim Aiken's book ''A Player's Guide to Chords & Harmony''. Alterations are enclosed in parentheses, additions never are.
 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".
-An up or down between the chord root and the chord type (e.g. C^m7) is called a "global" up or down. Adding one 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 mid 3rd, 6th, 7th, and/or 11th. Global affects every other note of a stacked-3rds chord with a 6th below the root: '''<u>6th</u>''' - root - '''<u>3rd</u>''' - 5th - '''<u>7th</u>''' - 9th - '''<u>11th</u>''' - 13th.
+An up or down between the chord root and the chord type (e.g. C^m7) 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 mid-something chord has a mid 3rd, 6th, 7th, and/or 11th. Mnemonic: every other note of a stacked-3rds chord with a 6th below the root is affected: '''<u>6th</u>''' - root - '''<u>3rd</u>''' - 5th - '''<u>7th</u>''' - 9th - '''<u>11th</u>''' - 13th.
 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. By the same logic, if the 7th is upped or downed, the 11th would be too.
-Every conventional chord can accept a global up or down, with one exception: it's pointless to apply a global down to a C5 chord, because there is no 3rd, 6th or 7th to alter. Thus Cv5 is invalid, and "C down-5" means C(v5) = C E vG.
+Every conventional chord can accept such an up or down, with one exception: it's pointless to down a C5 chord, because there is no 3rd, 6th or 7th to alter. Thus Cv5 is invalid, and "C down-5" means C(v5) = C E vG.
-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.
+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, <u>never use lower case roman numerals</u> for minor chords, because both vIIm and VIIm would be written vii.
 <span style="display: block; text-align: left;">The major chord and various alterations of it:</span>
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 |}
 Many EDOs have notes between the major 3rd and the perfect 4th, creating triads impossible in 12-edo, such as:
-* C Fb G = C(d4) or C(b4) = "C dim-four" or "C flat-four"
+* C Fb G = C(d4) or C(b4) = "C dim-four" or "C sus-flat-four"
-* C E# G = C(A3) or C(#3) = "C aug-three" or "C sharp-three"
+* C E# G = C(A3) or C(#3) = "C aug-three" or "C sus-sharp-three"
-* C Ebb G = C(d3) or C(bb3) = "C dim-three" or "C double-flat-three"
+* C Ebb G = C(d3) or C(bb3) = "C dim-three" or "C sus-double-flat-three"
-* C D# G = C(A2) or C(#2) =  "C aug-two" or "C sharp-two"
+* C D# G = C(A2) or C(#2) =  "C aug-two" or "C sus-sharp-two"
-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#.
+The "sus" is needed so that C(#2) doesn't sound like C#2, which is C# D# G#.
 <u>'''Sixth and seventh chords:'''</u>