Kite's color notation: Difference between revisions
in the intro, clarified that the vowel sounds might vary by language, so there is no one single pronunciation |
ArrowHead294 (talk | contribs) m Restored revision 187663 by VectorGraphics (talk). IPA pronunciations are unambiguous, and removing them only makes things MORE confusing. Anyone not familiar with it can find example words and audio samples easily on Wikipedia and countless other sites. |
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* Most importantly, one can name not only notes but also intervals. As a result, color notation can name scales, chords, chord progressions and even prime subgroups and temperaments. | * Most importantly, one can name not only notes but also intervals. As a result, color notation can name scales, chords, chord progressions and even prime subgroups and temperaments. | ||
'''Colorspeak''' is the term for spoken color notation. It's designed to be easily pronounced no matter what one's native language is and also to be very concise; almost every element of colorspeak is one syllable ending with a vowel. The five vowels a | '''Colorspeak''' is the term for spoken color notation. It's designed to be easily pronounced no matter what one's native language is and also to be very concise; almost every element of colorspeak is one syllable ending with a vowel. The five basic vowels are pronounced ah-eh-ee-oh-oo (/a/, /e/, /i/, /o/, and /u/) as in Spanish or Italian. <y> is /j/. <r> is the "whatever" rhotic, transcribed /r/. | ||
== Color names for primes 3, 5, and 7 == | == Color names for primes 3, 5, and 7 == | ||
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|- | |- | ||
| 3-all | | 3-all | ||
| = '''wa''' = white (strong but colorless) = often perfect | | = '''wa''' /wa/ = white (strong but colorless) = often perfect | ||
|- | |- | ||
| 5-over | | 5-over | ||
| = '''yo''' = yellow (warm and sunny) = often major | | = '''yo''' /jo/ = yellow (warm and sunny) = often major | ||
|- | |- | ||
| 5-under | | 5-under | ||
| = '''gu''' | | = '''gu''' /gu/ = green (not as bright as yellow) = often minor | ||
|- | |- | ||
| 7-over | | 7-over | ||
| = '''zo''' = blue/azure (dark and bluesy) = often subminor | | = '''zo''' /zo/ = blue/azure (dark and bluesy) = often subminor | ||
|- | |- | ||
| 7-under | | 7-under | ||
| = '''ru''' = red (alarming, inflamed) = often supermajor | | = '''ru''' /ru/ = red (alarming, inflamed) = often supermajor | ||
|} | |} | ||
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[[File:Lattice41a.png|833x833px]] | [[File:Lattice41a.png|833x833px]] | ||
The general term for large/small/central is '''magnitude'''. Only intervals have a magnitude, notes never do, and L and s never appear on the staff. A ratio's magnitude is the sum of all the | The general term for large/small/central is '''magnitude'''. Only intervals have a magnitude, notes never do, and L and s never appear on the staff. A ratio's magnitude is the sum of all the monzo exponents except the first one, divided by 7, and rounded off. {{nowrap|0 {{=}} central|1 {{=}} large|2 = double large}}, etc. {{nowrap|81/64 {{=}} {{vector| -6 4 }}}}, and 4/7 rounds to 1, so {{nowrap|81/64 {{=}} Lw3}}. Similarily, {{nowrap|135/128 {{=}} {{map| -7 3 1 }}}} = Ly1. Unfortunately, magnitudes do not add up predictably like colors and degrees: {{nowrap|w2 + w2 {{=}} Lw3}}. | ||
Colors can be doubled or tripled, which are abbreviated '''bi-''' ("bee") and '''tri-''' ("tree"): {{nowrap|49/25 {{=}} bizogu 9th}} = zzgg9 and {{nowrap|128/125 {{=}} trigu 2nd}} = g<sup>3</sup>2. Bi- is only used if it shortens the name: {{nowrap|25/16 {{=}} yoyo 5th}}, not biyo 5th. Likewise with magnitudes: double-large is lala and triple-large is trila. For quadruple, etc., see [[#Exponents]]. | Colors can be doubled or tripled, which are abbreviated '''bi-''' ("bee") and '''tri-''' ("tree"): {{nowrap|49/25 {{=}} bizogu 9th}} = zzgg9 and {{nowrap|128/125 {{=}} trigu 2nd}} = g<sup>3</sup>2. Bi- is only used if it shortens the name: {{nowrap|25/16 {{=}} yoyo 5th}}, not biyo 5th. Likewise with magnitudes: double-large is lala and triple-large is trila. For quadruple, etc., see [[#Exponents]]. | ||
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(One might be tempted to write 11o instead of 1o. This would work on a score, but would be confusing in chord names. The triad C11o would look like a diminished 11th chord. In general, color notation avoids naming primes with the numbers found in chord names, which are 2 4 5 6 7 9 11 and 13.) | (One might be tempted to write 11o instead of 1o. This would work on a score, but would be confusing in chord names. The triad C11o would look like a diminished 11th chord. In general, color notation avoids naming primes with the numbers found in chord names, which are 2 4 5 6 7 9 11 and 13.) | ||
'''Tho''' = 13-over, '''thu''' = 13-under, and '''tha''' = 13-all. Tho and thu are abbreviated as '''3o''' and '''3u''' on the score and in interval names, e.g. 13/8 = 3o6 = tho 6th, 14/13 = 3uz2 = thuzo 2nd. (See the preceding paragraph for why it's 3o and not 13o.) | '''Tho''' /θ/ = 13-over, '''thu''' = 13-under, and '''tha''' = 13-all. Tho and thu are abbreviated as '''3o''' and '''3u''' on the score and in interval names, e.g. 13/8 = 3o6 = tho 6th, 14/13 = 3uz2 = thuzo 2nd. (See the preceding paragraph for why it's 3o and not 13o.) | ||
<u>Prime subgroups:</u> yala = 2.3.5.11, zalatha nowa = 2.7.11.13, and yazalatha = 2.3.5.7.11.13 = the full 13-limit. '''Noya''' is a descriptive adjective, not used in actual prime subgroup names, that indicates the absence of 5 and the presence of higher primes, e.g. zala, latha and zalatha are all noya. Likewise, there's '''noza''', '''noyaza''', etc. | <u>Prime subgroups:</u> yala = 2.3.5.11, zalatha nowa = 2.7.11.13, and yazalatha = 2.3.5.7.11.13 = the full 13-limit. '''Noya''' is a descriptive adjective, not used in actual prime subgroup names, that indicates the absence of 5 and the presence of higher primes, e.g. zala, latha and zalatha are all noya. Likewise, there's '''noza''', '''noyaza''', etc. | ||
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=== Po and qu === | === Po and qu === | ||
'''Po''' and '''qu''' ( | '''Po''' and '''qu''' (/ku/) (short forms '''p''' and '''q''') are two optional accidentals that indicate raising/lowering by a pythagorean comma. (Mnemonics: p stands for pythagorean, and q is the mirror image of p.) Why would one want to do that? Because by first subtracting that comma and then adding it on again, one can rename a note as another note. This is similar to [[Sagittal notation |Sagittal]] notation (see [http://tallkite.com/misc_files/Sagittal-JI-Translated-To-Colors.png Sagittal-JI-Translated-To-Colors.png]). | ||
For example, F# minus a pythagorean comma is Gb. And Gb plus a pythagorean comma is po Gb. Thus an alternate name for F# is po Gb. <u>Adding po raises the degree by one</u>. The new note name is always a 12edo equivalent of the old note name. Adding qu lowers the degree: {{nowrap|Gb {{=}} qu F#}}. If one is resolving from Gb to G, one can rename Gb as qF#. | For example, F# minus a pythagorean comma is Gb. And Gb plus a pythagorean comma is po Gb. Thus an alternate name for F# is po Gb. <u>Adding po raises the degree by one</u>. The new note name is always a 12edo equivalent of the old note name. Adding qu lowers the degree: {{nowrap|Gb {{=}} qu F#}}. If one is resolving from Gb to G, one can rename Gb as qF#. | ||
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<u>All wa chords can be named conventionally</u>, since wa is the default color. Thus {{dash|w1, w3, w5}} is both Cw and Cm. And {{dash|w1, Lw3, w5, w6}} is both CLw6 and C6. For aesthetic reasons, the conventional name is preferred only when neither "M" nor "m" appears in the name (since color notation doesn't use major/minor). This is especially true if the chord includes non-wa notes: {{dash|w1, w3, w5, y6}} is Cw,y6 not Cm,y6. | <u>All wa chords can be named conventionally</u>, since wa is the default color. Thus {{dash|w1, w3, w5}} is both Cw and Cm. And {{dash|w1, Lw3, w5, w6}} is both CLw6 and C6. For aesthetic reasons, the conventional name is preferred only when neither "M" nor "m" appears in the name (since color notation doesn't use major/minor). This is especially true if the chord includes non-wa notes: {{dash|w1, w3, w5, y6}} is Cw,y6 not Cm,y6. | ||
Chords can be classified as '''bicolored''' (e.g. g7 or r6), '''tricolored''' (e.g. z7(zg5) or | Chords can be classified as '''bicolored''' (e.g. g7 or r6), '''tricolored''' (e.g. z7(zg5) or z,y6), '''quadricolored''' (e.g. s6(zg5) or h7,zg9), etc. | ||
==Chord progressions, keys, scales and modulations== | ==Chord progressions, keys, scales and modulations== | ||
A conventional chord name like IIm7 names the chord root relative to the tonic and the chord notes relative to the chord root. The "m7" is shorthand for (P1, m3, P5, m7). Adding each of these intervals to the M2 root gives us the four notes of the chord: M2, P4, M6 and P8. In the key of E, it would be F#m7 = F# + (P1, m3, P5, m7) = F#, A, C# and E. | A conventional chord name like IIm7 names the chord root relative to the tonic and the chord notes relative to the chord root. The "m7" is shorthand for (P1, m3, P5, m7). Adding each of these intervals to the M2 root gives us the four notes of the chord: M2, P4, M6 and P8. In the key of E, it would be F#m7 = F# + (P1, m3, P5, m7) = F#, A, C# and E. | ||