Kite's ups and downs notation: Difference between revisions

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@@ Line 4: / Line 4: @@
 Ups and downs can also notate any [[Tour of Regular Temperaments|rank-2 temperament]], although some temperaments require an additional pair of accidentals, lifts and drops (/ and \). In this context, an up or a lift represents sharpening by a [[comma]] that has been tempered, but not tempered out. For example, in [[Porcupine|Triyo aka Porcupine]], an up/down represents raising/lowering by a tempered 81/80, and lifts/drops aren't used. In practice, the two uses of the notation often coincide perfectly. Triyo is supported by both 15-edo and 22-edo, and both EDOs map 81/80 to one EDOstep. Thus if Triyo is tuned to 15-edo, an up simultaneously means both a tempered 81/80 and 1\15. Likewise, if tuned to 22-edo, the up means both 81/80 and 1\22. If not tuned to an EDO at all, then the up only means 81/80. Thus a piece written in Triyo can be converted to a piece written in 22-edo by simply writing "22-edo" on the top of the page.
-'''<u>This page only discusses notation of EDOs.</u>''' For notation of rank-2 and rank-3 temperaments, see the [[pergen|pergens]] article. For more on EDO notation, see the [http://tallkite.com/misc_files/notation%20guide%20for%20edos%205-72.pdf Notation guide for edos 5-72], which also covers chord names, slash chords, staff notation, key signatures, and scale trees.
+Ups and downs can also be used to notate rank-3 just intonation subgroups such as 2.3.5 or 2.3.7 or 2.3.11. See [[Ups and Downs Notation for Rank-3 JI]].
+'''<u>This page only discusses notation of EDOs.</u>''' However the notation of chords and chord progressions applies to all situations. For notation of rank-2 and rank-3 temperaments, see the [[pergen|pergens]] article. For more on EDO notation, see the [http://tallkite.com/misc_files/notation%20guide%20for%20edos%205-72.pdf Notation guide for edos 5-72], which also covers chord names, slash chords, staff notation, key signatures, and scale trees.
 ==Explanation -- a 22-edo example==
@@ Line 884: / Line 886: @@
 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 Cd,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.
+In the table below, if a chord is '''bolded''', the comma must be spoken as "add".
 {| class="wikitable" style="text-align:center;"
 |+
@@ Line 891: / Line 893: @@
 !dom7
 !min7
-! colspan="3" |min7(b5) or half-dim or dim-add-7
+! colspan="3" |dim-add-7 or min7(b5) or half-dim
 ! colspan="2" |dim7
 !maj6
@@ Line 909: / Line 911: @@
 |C7
 |Cm7
+|'''Cd,7'''
 |Cm7(b5)
 |Cø
-|'''Cd,7'''
 |Cd7
 |Co7
@@ Line 921: / Line 923: @@
 |'''Cv,7'''
 |'''Cvm,7'''
+|'''Cvd,7'''
 |'''Cvm,7(b5)'''
 |Cø(v3)
-|'''Cvd,7'''
 |Cvd,d7
 |Cvo,d7
@@ Line 933: / Line 935: @@
 |C7(v5)
 |Cm7(v5)
+|Cd(v5)7
 |Cm7(vb5)
 |Cø(v5)
-|Cd(v5)7
 |Cd7(v5)
 |Co7(v5)
@@ Line 941: / Line 943: @@
 |Cm6(v5)
 |-
-!7th
+!6th/7th
 |'''C,vM7'''
 |'''C,v7'''
-|Cm,v7
+|Cmv7
-|Cm,v7(b5)
+|Cdv7
+|Cmv7(b5)
 |Cø(v7)
-|Cd,v7
+|Cdvd7
-|Cd,vd7
+|Covd7
-|Co,vd7
 |'''C,v6'''
-|Cm,v6
+|Cmv6
 |-
 !3rd, 5th
-|Cv(v5)M7
+|'''Cv,M7(v5)'''
-|Cv(v5)7
+|'''Cv,7(v5)'''
-|Cvm(v5)7
+|'''Cvm,7(v5)'''
+|Cvd(v5)7
 |'''Cvm,7(vb5)'''
-|Cø(v3,v5)
+|Cø(v3v5)
-|Cvd(v5)7
 |Cvd(v5)d7
 |Cvo(v5)d7
@@ Line 965: / Line 967: @@
 |Cvm(v5)6
 |-
-!3rd, 7th
+!3rd, 6th/7th
 |CvM7
 |Cv7
 |Cvm7
+|Cvdv7
 |Cvm7(b5)
 |Cvø
-|Cvd,v7
 |Cvd7
 |Cvo7
@@ Line 977: / Line 979: @@
 |Cvm6
 |-
-!5th, 7th
+!5th, 6th/7th
-|C(v5)vM7
+|C,vM7(v5)
-|C(v5)v7
+|'''C,v7(v5)'''
-|Cm(v5)v7
+|Cmv7(v5)
-|Cm,v7(vb5)
-|Cø(v5,v7)
 |Cd(v5)v7
+|Cmv7(vb5)
+|Cø(v5v7)
 |Cd(v5)vd7
 |Co(v5)vd7
@@ Line 989: / Line 991: @@
 |Cm(v5)v6
 |-
-!3rd, 5th, 7th
+!3rd, 5th, 6th/7th
 |CvM7(v5)
 |Cv7(v5)
 |Cvm7(v5)
+|Cvd(v5)v7
 |Cvm7(vb5)
 |Cvø(v5)
-|Cvd(v5)v7
 |Cvd7(v5)
 |Cvo7(v5)
@@ Line 1,036: / Line 1,038: @@
 |C9
 |Cm9
-|C7,b9
+|C7b9
 |C6,9
 |Cm6,9
@@ Line 1,056: / Line 1,058: @@
 |C7(v5)b9
 |C6(v5)9
-|Cm6(v5)9
+|Cm6,9(v5)
 |-
 !6th/7th
@@ Line 1,065: / Line 1,067: @@
 |'''C,v7b9'''
 |'''C,v6,9 *'''
-|Cm,v6,9
+|Cmv6,9
 |-
 !9th
 |'''C,v9'''
-|CM7,v9
+|CM7v9
-|C7,v9
+|C7v9
-|Cm7,v9
+|Cm7v9
-|C7,vb9
+|C7vb9
-|C6,v9
+|C6v9
-|Cm6,v9
+|Cm6v9
 |-
 !3rd, 5th
-|Cv(v5)9
+|'''Cv,9(v5)'''
 |CM9(v3v5)
 |C9(v3v5)
 |Cm9(v3v5)
-|Cv(v5)7b9
+|'''Cv,7b9(v5)'''
 |Cv(v5)6,9
 |Cvm(v5)6,9
@@ Line 1,090: / Line 1,092: @@
 |Cv9
 |Cvm9
-|Cv7,b9
+|Cv7b9
 |Cv6,9
 |Cvm6,9
@@ Line 1,132: / Line 1,134: @@
 |'''C,vM7v9'''
 |'''C,v7v9'''
-|Cm,v7v9
+|Cmv7v9
 |'''C,v7vb9'''
 |'''C,v6v9'''
-|Cm,v6v9
+|Cmv6v9
 |-
 !3rd, 5th, 6th/7th
@@ Line 1,163: / Line 1,165: @@
 !3rd, 6th/7th, 9th
 | ------
-|CvM7,v9
+|CvM7v9
-|Cv7,v9
+|Cv7v9
-|Cvm7,v9
+|Cvm7v9
-|Cv7,vb9
+|Cv7vb9
-|Cv6,v9
+|Cv6v9
-|Cvm6,v9
+|Cvm6v9
 |-
 !5th, 6th/7th, 9th
@@ Line 1,218: / Line 1,220: @@
 Fixed-do solfege examples:
 * Da = C, De = C#, Di = C##, Do = Cb, Du =Cbb
-* Da = C, Dae = ^C, Dai = ^^C, Dao = vC, Dau = vvC, Daa = ^^^C
+* Da = C, Dawe = ^C, Dawi = ^^C, Dawo = vC, Dawu = vvC, Dawa = ^^^C
-* De = C#, Dee = ^C#, Dei = ^^C#, Deo = vC#, Deu = vvC#, Dea = vvvC#
+* De = C#, Dewe = ^C#, Dewi = ^^C#, Dewo = vC#, Dewu = vvC#, Dewa = vvvC#
 Moveable-do solfege:
@@ Line 1,226: / Line 1,228: @@
 Perfect intervals (tonic, 4th, 5th and octave): a = perfect, e= aug, i = double-aug, o = dim, u = double-dim
 * Da = P1, De = A1, Di = AA1, Do = d1, Du = dd1
-* Dae = ^1, Dai = ^^1, Dao = v1, Dau = vv1, Daa = ^^^1
+* Dawe = ^1, Dawi = ^^1, Dawo = v1, Dawu = vv1, Dawa = ^^^1
 Imperfect intervals (2nd, 3rd, 6th and 7th): a = mid, e = major, i = aug, o = minor, u = dim
 * Ra = ~2, Re = M2, Ri = A2, Ro = m2, Ru = d2
-* Ree = ^M2, Rei = ^^M2, Reo = vM2, Reu = vvM2, Rea = ^^^M2
+* Rehe = ^M2, Rehi = ^^M2, Reho = vM2, Rehu = vvM2, Reha = ^^^M2
 == See also ==