Primer for 19edo: Difference between revisions

m This isn't how template: Main is supposed to be used
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Restore a table that was removed in Revision as of 14:17, 24 April 2025 by ArrowHead294 for no reason
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Just how the staff and letter names of notes from 12edo can carry over into 19edo with a simple shift in mindset, roman numeral chord notation can be used in pretty much the same way it was used in 12edo.  Only the relationships between enharmonic equivalent chords are changed.
Just how the staff and letter names of notes from 12edo can carry over into 19edo with a simple shift in mindset, roman numeral chord notation can be used in pretty much the same way it was used in 12edo.  Only the relationships between enharmonic equivalent chords are changed.


{| class="wikitable"
! Scale degree
! Name
! Major chord
! Minor chord
|-
| 1
| Tonic
| I
| i
|-
| bb2
| Supertonic
| bbII
| bbii
|-
| b2
| Supertonic
| bII
| bii
|-
| 2
| Supertonic
| II
| ii
|-
| #2/bb3
|
| #II / bbIII
| #ii / bbiii
|-
| b3
| Mediant
| bIII
| biii
|-
| 3
| Mediant
| III
| iii
|-
| #3/b4
|
| #III / bIV
| #iii / biv
|-
| 4
| Subdominant
| IV
| iv
|-
| #4
| Subdominant
| #IV
| #iv
|-
| b5
| Dominant
| bV
| bv
|-
| 5
| Dominant
| V
| v
|-
| #5
| Dominant
| #V
| #v
|-
| b6
| Submediant
| bVI
| bvi
|-
| 6
| Submediant
| VI
| vi
|-
| bb7/#6
|
| bbVII / #VI
| bbvii / #vi
|-
| b7
| Subtonic
| bVII
| bvii
|-
| 7
| Subtonic
| VII
| vii
|-
| #7
| Subtonic
| #VII
| #vii
|}


Again, there are sometimes, confusingly, other notation conventions.  For example, in common practice, the chords in the natural minor scale are i - ii° - bIII - iv - v - bVI - bVII, but since the minor scale is sometimes assumed, some people use the notation "i - ii° - III - iv - v - VI - VII" without the accidentals.  This is not expressly incorrect, but many consider it confusing.  In the case of xenharmonic music, it is recommended to use the accidental marks whenever possible to avoid the confusion introduced by notation that doesn't specify them, compounded by the complication of having more accidentals for which to account.
Again, there are sometimes, confusingly, other notation conventions.  For example, in common practice, the chords in the natural minor scale are i - ii° - bIII - iv - v - bVI - bVII, but since the minor scale is sometimes assumed, some people use the notation "i - ii° - III - iv - v - VI - VII" without the accidentals.  This is not expressly incorrect, but many consider it confusing.  In the case of xenharmonic music, it is recommended to use the accidental marks whenever possible to avoid the confusion introduced by notation that doesn't specify them, compounded by the complication of having more accidentals for which to account.