19edo chords: Difference between revisions
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In contrast to [[12edo]] chords, [[19edo]] has four instead of the usual two main tertian chord qualities which opens up completely new territory for eager musicians/microtonalists to explore. | In contrast to [[12edo]] chords, [[19edo]] has four instead of the usual two main tertian chord qualities, which opens up completely new territory for eager musicians/microtonalists to explore. | ||
19edo approximates intervals with factors of 2 ([[2/1]]), 3 ([[3/2]]), 5 ([[5/4]], [[5/3]], [[6/5]]) and 7 ([[7/6]], [[7/4]], [[27/14]]) quite well. This essentially means that normal chords – like in 12edo – can be represented nicely in 19edo. | 19edo approximates intervals with factors of 2 ([[2/1]]), 3 ([[3/2]]), 5 ([[5/4]], [[5/3]], [[6/5]]) and 7 ([[7/6]], [[7/4]], [[27/14]]) quite well. This essentially means that normal chords – like in 12edo – can be represented nicely in 19edo. | ||
Despite that | Despite that [[enharmonic equivalence]] works differently in 19edo, pitches can be written down with [[Chain-of-fifths notation|standard notation]]. | ||
== Triads == | == Triads == | ||
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| [[File:Ch7b9 (19-EDO).mp3| frameless]] | | [[File:Ch7b9 (19-EDO).mp3| frameless]] | ||
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== Ups and downs notation == | |||
Various [[19edo]] triads, 6th and 7th chords, named via [[Ups and Downs Notation|ups and downs]]. Not meant to be exhaustive, but this list does demonstrate the basic rules for naming. The aug 6th and the dim 7th are the same interval, and chords that use that interval can be named as either a 6th chord or a 7th chord. | |||
{| class="wikitable" | |||
|+ | |||
! | |||
!d3 | |||
!m3 | |||
!M3 | |||
!A3 | |||
!P4 | |||
|- | |||
!triad | |||
|C(d3) | |||
|Cm | |||
|C | |||
|C(A3) | |||
|C4 | |||
|- | |||
!M6 | |||
|C6(d3) | |||
|Cm6 | |||
|C6 | |||
|C6(A3) | |||
|C4,6 | |||
|- | |||
!A6 | |||
d7 | |||
|C(d3)A6 | |||
C(d3)d7 | |||
|CmA6 | |||
Cmd7 | |||
|C,A6 | |||
C,d7 | |||
|C(A3)A6 | |||
C(A3)d7 | |||
|C4A6 | |||
C4d7 | |||
|- | |||
!m7 | |||
|C7(d3) | |||
|Cm7 | |||
|C7 | |||
|C7(A3) | |||
|C4,7 | |||
|- | |||
!M7 | |||
|CM7(d3) | |||
|CmM7 | |||
|CM7 | |||
|CM7(A3) | |||
|C4M7 | |||
|- | |||
!A7 | |||
|CA7(d3) | |||
|CmA7 | |||
|C,A7 | |||
|C(A3)A7 | |||
|C4A7 | |||
|} | |||
A comma (the actual punctuation mark ",") is spoken as "add", thus C,v7 is "C add-down-seven". The only exception is when a comma separates two numbers, as in C4,7 which is "C four-seven". A comma is written, and "add" is spoken, whenever not doing so would cause confusion with another chord. | |||
4:5:6:7 = C E G vBb is named C add-dim7. To get a shorter name for this important chord, one could call it a harmonic7 chord, or one could borrow from [[color notation]] to call it a har7 chord, written Ch7. Names for subharmonic chords can be similarly shortened. | |||
{| class="wikitable" | |||
|+ | |||
!chord | |||
!notes | |||
! colspan="2" |ups and downs name | |||
! colspan="2" |color name | |||
|- | |||
|4:5:6:7 | |||
|C E G Bbb | |||
|C add-dim-7 | |||
|C,d7 | |||
|C har7 | |||
|Ch7 | |||
|- | |||
|7/6/5/4 | |||
|C Ebb Gbb Bbb | |||
|C dim-3 dim-7 double-dim5 | |||
|C(d3)d7(dd5) | |||
|C sub7 | |||
|Cs7 | |||
|- | |||
|12/10/8/7 | |||
|C Eb G A# | |||
|C minor aug-6 | |||
|CmA6 | |||
|C sub6 | |||
|Cs6 | |||
|} | |||
== See also == | |||
* [[22edo Chord Names]] | |||
* [[24edo Chord Names]] | |||
* [[31edo Chord Names]] | |||
* [[41edo Chord Names]] | |||
* [[Kite Guitar Chord Shapes (downmajor tuning)]] | |||
[[Category:19edo]] | [[Category:19edo]] | ||
[[Category:Chords]] | [[Category:Chords]] | ||