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Line 36: |
| | Upper bleeding tone | | | Upper bleeding tone |
| | 1# | | | 1# |
| | <sup>I#</sup> | | | I# |
| |- | | |- |
| | 2 | | | 2 |
| Line 42: |
Line 42: |
| | 15/14, 16/15, 13/12, 14/13 | | | 15/14, 16/15, 13/12, 14/13 |
| | Upper leading tone | | | Upper leading tone |
| | 2<span style="color: #252525; font-family: 'Arial Unicode MS','Lucida Sans Unicode'; font-size: 14px;">♭</span> | | | 2♭ |
| | II<span style="color: #252525; font-family: 'Arial Unicode MS','Lucida Sans Unicode'; font-size: 14px;">♭</span> | | | II♭ |
| |- | | |- |
| | 3 | | | 3 |
| Line 56: |
Line 56: |
| | 7/6, 8/7, 15/13 | | | 7/6, 8/7, 15/13 |
| | Caesiant | | | Caesiant |
| | 2# ; 3<span style="color: #252525; font-family: 'Arial Unicode MS','Lucida Sans Unicode'; font-size: 14px;">♭</span> | | | 2# ; 3♭ |
| | II# , III<span style="color: #252525; font-family: 'Arial Unicode MS','Lucida Sans Unicode'; font-size: 14px;">♭</span> | | | II# , III♭ |
| |- | | |- |
| | 5 | | | 5 |
| Line 77: |
Line 77: |
| | 32/25, 9/7, 13/10 | | | 32/25, 9/7, 13/10 |
| | Rubric | | | Rubric |
| | 3# , 4<span style="color: #252525; font-family: 'Arial Unicode MS','Lucida Sans Unicode'; font-size: 14px;">♭</span> | | | 3# , 4♭ |
| | III# , IV<span style="color: #252525; font-family: 'Arial Unicode MS','Lucida Sans Unicode'; font-size: 14px;">♭</span> | | | III# , IV♭ |
| |- | | |- |
| | 8 | | | 8 |
| Line 98: |
Line 98: |
| | 36/25, 10/7, 13/9 | | | 36/25, 10/7, 13/9 |
| | Subhygrant | | | Subhygrant |
| | 5<span style="color: #252525; font-family: 'Arial Unicode MS','Lucida Sans Unicode'; font-size: 14px;">♭</span> | | | 5♭ |
| | V<span style="color: #252525; font-family: 'Arial Unicode MS','Lucida Sans Unicode'; font-size: 14px;">♭</span> | | | V♭ |
| |- | | |- |
| | 11 | | | 11 |
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| | 25/16, 14/9, 20/13 | | | 25/16, 14/9, 20/13 |
| | Subrubric | | | Subrubric |
| | 5#, 6<span style="color: #252525; font-family: 'Arial Unicode MS','Lucida Sans Unicode'; font-size: 14px;">♭</span> | | | 5#, 6♭ |
| | V#, VI<span style="color: #252525; font-family: 'Arial Unicode MS','Lucida Sans Unicode'; font-size: 14px;">♭</span> | | | V#, VI♭ |
| |- | | |- |
| | 13 | | | 13 |
| Line 140: |
Line 140: |
| | 9/5, 16/9 | | | 9/5, 16/9 |
| | Subtonic | | | Subtonic |
| | 7<span style="color: #252525; font-family: 'Arial Unicode MS','Lucida Sans Unicode'; font-size: 14px;">♭</span> | | | 7♭ |
| | VII<span style="color: #252525; font-family: 'Arial Unicode MS','Lucida Sans Unicode'; font-size: 14px;">♭</span> | | | VII♭ |
| |- | | |- |
| | 17 | | | 17 |
| Line 154: |
Line 154: |
| | 27/14, 25/13 | | | 27/14, 25/13 |
| | Lower bleeding tone | | | Lower bleeding tone |
| | 1<span style="color: #252525; font-family: 'Arial Unicode MS','Lucida Sans Unicode'; font-size: 14px;">♭</span> | | | 1♭ |
| | I<span style="color: #252525; font-family: 'Arial Unicode MS','Lucida Sans Unicode'; font-size: 14px;">♭</span> | | | I♭ |
| |} | | |} |
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| Line 259: |
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| |} | | |} |
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| <span style="font-family: Arial,Helvetica,sans-serif;">Due to tempering, some chords may be notated in more than one way. For example, the chord I</span><span style="font-family: Arial,Helvetica,sans-serif; vertical-align: sub;">(gkhj) </span><span style="font-family: Arial,Helvetica,sans-serif;">,</span><span style="font-family: Arial,Helvetica,sans-serif;">which corresponds to the otonal 10:13:15, is tempered to be the same as i</span><span style="font-family: Arial,Helvetica,sans-serif; vertical-align: sub;">(cfe) </span><span style="font-family: Arial,Helvetica,sans-serif;">(the utonal 6:7:9).</span>
| | Due to tempering, some chords may be notated in more than one way. For example, the chord I<sub>(gkhj) </sub>, which corresponds to the otonal 10:13:15, is tempered to be the same as i<sub>(cfe)</sub>(the utonal 6:7:9). |
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| '''<span style="font-family: Arial,Helvetica,sans-serif;">Chord progressions</span>''' | | '''Chord progressions''' |
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| ''<span style="font-family: Arial,Helvetica,sans-serif;">Porting</span>''<span style="font-family: Arial,Helvetica,sans-serif;"> is the process of translating chord progressions from one tuning system to another. Most chord progressions can be ported in some way, although it's important to note that some commas are not tempered out anymore, and there are chord progressions that close in one tuning (for example: 12-edo) that don't close in another (for example: 19-edo) (so that you will end up one semitone higher or lower than where you started). Most of the time, however, this can easily be remedied. For instance, the [https://en.wikipedia.org/wiki/Coltrane_changes Coltrane changes] no longer work as before because three major thirds do not make an octave. However, a variant can be constructed in which one of the major thirds is replaced with a supermajor third; this version ''does'' close.</span> | | ''Porting'' is the process of translating chord progressions from one tuning system to another. Most chord progressions can be ported in some way, although it's important to note that some commas are not tempered out anymore, and there are chord progressions that close in one tuning (for example: 12-edo) that don't close in another (for example: 19-edo) (so that you will end up one semitone higher or lower than where you started). Most of the time, however, this can easily be remedied. For instance, the [https://en.wikipedia.org/wiki/Coltrane_changes Coltrane changes] no longer work as before because three major thirds do not make an octave. However, a variant can be constructed in which one of the major thirds is replaced with a supermajor third; this version ''does'' close. |
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| <span style="font-family: Arial,Helvetica,sans-serif;">Porting the following progressions is trivial:</span>
| | Porting the following progressions is trivial: |
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| * All progressions using only I, IV, and V. | | * All progressions using only I, IV, and V. |