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== Notation ==
== Notation ==
There are multiple ways of notating 24edo.  While an arguably common form can be seen on [[Wikipedia: Quarter tone #Interval size in equal temperament|Wikipedia's page on quartertones]], there are other forms, and it is these other forms that will be considered here.  For the full list, along with some chord progression information, see [[24edo interval names and harmonies|full article on 24 Edo intervals]], and, for now, see also [[24edo Chord Names]] and [[Ups and Downs Notation #Chords and Chord Progressions]].
There are multiple ways of notating 24edo.  While an arguably common form can be seen on [[Wikipedia: Quarter tone #Interval size in equal temperament|Wikipedia's page on quartertones]], there are other forms, and it is these other forms that will be considered here.  For the full list, along with some chord progression information, see [[24edo interval names and harmonies|full article on 24 Edo intervals]], and also [[24edo Chord Names]] and [[Ups and Downs Notation#Chords and Chord Progressions]].


=== Ups and down notation ===
=== Ups and down notation ===
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<references/>
<references/>
In many other edos, 5/4 is downmajor and 11/9 is mid. To agree with this, the term mid is generally preferred over down or downmajor.


Combining ups and downs notation with [[color notation]], qualities can be loosely associated with colors:
Combining ups and downs notation with [[color notation]], qualities can be loosely associated with colors:
Line 240: Line 242:
|-
|-
! quality
! quality
! [[color name]]
![[color name]]
! monzo format
! monzo format
! examples
! examples
Line 246: Line 248:
| downminor
| downminor
| zo
| zo
| {a, b, 0, 1}
| (a, b, 0, 1)
| 7/6, 7/4
| 7/6, 7/4
|-
|-
| minor
| rowspan="2" | minor
| fourthward wa
| fourthward wa
| {a, b}, b &lt; -1
| (a, b), b &lt; -1
| 32/27, 16/9
| 32/27, 16/9
|-
|-
| "
| gu
| gu
| {a, b, -1}
| (a, b, -1)
| 6/5, 9/5
| 6/5, 9/5
|-
|-
| mid
| rowspan="2" | mid
| ilo
| ilo
| {a, b, 0, 0, 1}
| (a, b, 0, 0, 1)
| 11/9, 11/6
| 11/9, 11/6
|-
|-
| "
| lu
| lu
| {a, b, 0, 0, -1}
| (a, b, 0, 0, -1)
| 12/11, 18/11
| 12/11, 18/11
|-
|-
| major
| rowspan="2" | major
| yo
| yo
| {a, b, 1}
| (a, b, 1)
| 5/4, 5/3
| 5/4, 5/3
|-
|-
| "
| fifthward wa
| fifthward wa
| {a, b}, b &gt; 1
| (a, b), b &gt; 1
| 9/8, 27/16
| 9/8, 27/16
|-
|-
| upmajor
| upmajor
| ru
| ru
| {a, b, 0, -1}
| (a, b, 0, -1)
| 9/7, 12/7
| 9/7, 12/7
|}
|}


Ups and downs notation can be used to name chords. Alterations are always enclosed in parentheses, additions never are. An up, down or mid immediately after the chord root affects the 3rd, 6th, 7th, and/or the 11th (every other note of a stacked-3rds chord 6-1-3-5-7-9-11-13).
Ups and downs notation can be used to name chords. See [[24edo Chord Names]] and [[Ups and Downs Notation#Chords and Chord Progressions]].  
 
In many other edos, especially larger ones, 5/4 is downmajor and 11/9 is mid. To agree with this, the term mid is generally preferred over down or downmajor.
 
{| class="wikitable"
|-
! edosteps
! notes
! written name
! spoken name
! JI chord, if any
|-
| 0-5-14
| C vEb G
| Cvm
| C downminor
| 6:7:9
|-
| 0-6-14
| C Eb G
| Cm
| C minor
| 10:12:15 <u>or</u> 6/(6:5:4)
|-
| 0-7-14
| C vE G
| C~
| C mid
| 18:22:27
|-
| 0-8-14
| C E G
| C
| C major or C
| 4:5:6
|-
| 0-9-14
| C ^E G
| C^
| C upmajor or C up
| 14:18:21 <u>or</u> 9/(9:7:6)
|-
| 0-8-13
| C E vG
| C(v5)
| C down-five
|
|-
| 0-7-13
| C vE vG
| C~(v5)
| C mid down-five
| 22:27:32
|-
| 0-4-11-14
| C ^F G D
| C^4,9
| C up-four add-nine
| 8:9:11:12
|-
| 0-9-14-19
| C ^E G ^A
| C^6
| C up-six
| 14:18:21:24
|-
| 0-5-14-20
| C vEb G Bb
| Cvm,7
| C downminor add-seven
|
|-
| 0-5-14-19
| C vEb G vBb
| Cvm7
| C downminor-seven
| 12:14:18:21
|-
| 0-7-14-21
| C vE G vB
| C~7
| C mid-seven
| 18:22:27:33
|-
| 0-7-14-21-28
| C vE G vB D
| C~9
| C mid-nine
| 36:44:54:66:81
|-
| 0-7-14-21-28-35
| C vE G vB D ^F
| C~11
| C mid-eleven
| 36:44:54:66:81:99
|-
| 0-7-14-21-28-35-42
| C vE G vB D ^F A
| C~13
| C mid-thirteen
| 36:44:54:66:81:99:121
|-
| 0-8-14-28-35-42
| C E G D ^F vA
| C9~11~13no7
| C nine mid-eleven mid-thirteen no-seven
| 4:5:6:9:11:13
|}


=== William Lynch's notation ===
=== William Lynch's notation ===
Line 1,393: Line 1,285:


"3 Hommages" by [https://en.wikipedia.org/wiki/Georg_Friedrich_Haas Georg Friedrich Haas]
"3 Hommages" by [https://en.wikipedia.org/wiki/Georg_Friedrich_Haas Georg Friedrich Haas]
"Folly of a Drunk" by Dawson Berry ([[:File:Folly of a Drunk.mp3|mp3]]) ([[:File:Folly of a Drunk (Musescore 3).pdf|score]])


[https://en.wikipedia.org/wiki/List_of_quarter_tone_pieces List of quartertone pieces on Wikipedia]
[https://en.wikipedia.org/wiki/List_of_quarter_tone_pieces List of quartertone pieces on Wikipedia]
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