Kite's ups and downs notation: Difference between revisions
Wikispaces>TallKite **Imported revision 588759264 - Original comment: ** |
Wikispaces>TallKite **Imported revision 588764296 - Original comment: ** |
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<h2>IMPORTED REVISION FROM WIKISPACES</h2> | <h2>IMPORTED REVISION FROM WIKISPACES</h2> | ||
This is an imported revision from Wikispaces. The revision metadata is included below for reference:<br> | This is an imported revision from Wikispaces. The revision metadata is included below for reference:<br> | ||
: This revision was by author [[User:TallKite|TallKite]] and made on <tt>2016-08-03 | : This revision was by author [[User:TallKite|TallKite]] and made on <tt>2016-08-03 20:36:43 UTC</tt>.<br> | ||
: The original revision id was <tt> | : The original revision id was <tt>588764296</tt>.<br> | ||
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The revision contents are below, presented both in the original Wikispaces Wikitext format, and in HTML exactly as Wikispaces rendered it.<br> | The revision contents are below, presented both in the original Wikispaces Wikitext format, and in HTML exactly as Wikispaces rendered it.<br> | ||
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You can write out chord progressions using ups/downs notation to name the roots. Here's the first 4 chords of Paul Erlich's 22edo composition "Tibia": | You can write out chord progressions using ups/downs notation to name the roots. Here's the first 4 chords of Paul Erlich's 22edo composition "Tibia": | ||
G.vM7(no5) = "G | G.vM7(no5) = "G dot down major seven, no five" | ||
Eb^.v(add9) = "E | Eb^.v(add9) = "E-upflat dot down, add nine" | ||
C7sus4 = "C seven | C7sus4 = "C-seven sus-four" | ||
A7(v3) = "A seven | A7(v3) = "A-seven down-three" | ||
To use relative notation, first write out all possible 22edo chord roots relatively. This is equivalent to the interval notation with Roman numerals substituted for Arabic, # for aug, and b for minor. Dim from perfect is b, but dim from minor is bb. Enharmonic equivalents like ^I = bII might be used in certain chord progressions like Im - ^IIIM - ^VIIM - ^IVm - ^Im. | To use relative notation, first write out all possible 22edo chord roots relatively. This is equivalent to the interval notation with Roman numerals substituted for Arabic, # for aug, and b for minor. Dim from perfect is b, but dim from minor is bb. Enharmonic equivalents like ^I = bII might be used in certain chord progressions like Im - ^IIIM - ^VIIM - ^IVm - ^Im. | ||
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VII or vI | VII or vI | ||
These are pronounced "down-two", "up-flat-three", "down-sharp-four", etc. Periods are | These are pronounced "down-two", "up-flat-three", "down-sharp-four", etc. Periods are used as before, for consistency, although they are not always needed. Thus 1 - M3 - 5 - vm7 = I(v7) = "one down-seven", 1 - vM3 - 5 - vm7 = I.v7 = "one dot down seven", and v1 - vM3 - v5 - vm7 = vI7 = "down-one seven". Here's the "Tibia" chords again: | ||
IvM7(no5) = "one dot down major seven, no five" | |||
IvM7(no5) = "one | ^bVIv(9) = "upflat-six down, add nine" | ||
^bVIv( | IV7sus4 = "four-seven sus-four" | ||
IV7sus4 = "four seven | II7(v3) = "two-seven down-three" | ||
II7(v3) = "two seven | |||
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<br /> | <br /> | ||
You can write out chord progressions using ups/downs notation to name the roots. Here's the first 4 chords of Paul Erlich's 22edo composition &quot;Tibia&quot;:<br /> | You can write out chord progressions using ups/downs notation to name the roots. Here's the first 4 chords of Paul Erlich's 22edo composition &quot;Tibia&quot;:<br /> | ||
G.vM7(no5) = &quot;G | G.vM7(no5) = &quot;G dot down major seven, no five&quot;<br /> | ||
Eb^.v(add9) = &quot;E | Eb^.v(add9) = &quot;E-upflat dot down, add nine&quot;<br /> | ||
C7sus4 = &quot;C seven | C7sus4 = &quot;C-seven sus-four&quot;<br /> | ||
A7(v3) = &quot;A seven | A7(v3) = &quot;A-seven down-three&quot;<br /> | ||
<br /> | <br /> | ||
To use relative notation, first write out all possible 22edo chord roots relatively. This is equivalent to the interval notation with Roman numerals substituted for Arabic, # for aug, and b for minor. Dim from perfect is b, but dim from minor is bb. Enharmonic equivalents like ^I = bII might be used in certain chord progressions like Im - ^IIIM - ^VIIM - ^IVm - ^Im.<br /> | To use relative notation, first write out all possible 22edo chord roots relatively. This is equivalent to the interval notation with Roman numerals substituted for Arabic, # for aug, and b for minor. Dim from perfect is b, but dim from minor is bb. Enharmonic equivalents like ^I = bII might be used in certain chord progressions like Im - ^IIIM - ^VIIM - ^IVm - ^Im.<br /> | ||
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VII or vI<br /> | VII or vI<br /> | ||
<br /> | <br /> | ||
These are pronounced &quot;down-two&quot;, &quot;up-flat-three&quot;, &quot;down-sharp-four&quot;, etc. Periods are | These are pronounced &quot;down-two&quot;, &quot;up-flat-three&quot;, &quot;down-sharp-four&quot;, etc. Periods are used as before, for consistency, although they are not always needed. Thus 1 - M3 - 5 - vm7 = I(v7) = &quot;one down-seven&quot;, 1 - vM3 - 5 - vm7 = I.v7 = &quot;one dot down seven&quot;, and v1 - vM3 - v5 - vm7 = vI7 = &quot;down-one seven&quot;. Here's the &quot;Tibia&quot; chords again:<br /> | ||
<br /> | |||
<br /> | <br /> | ||
IvM7(no5) = &quot;one | IvM7(no5) = &quot;one dot down major seven, no five&quot;<br /> | ||
^bVIv( | ^bVIv(9) = &quot;upflat-six down, add nine&quot;<br /> | ||
IV7sus4 = &quot;four seven | IV7sus4 = &quot;four-seven sus-four&quot;<br /> | ||
II7(v3) = &quot;two seven | II7(v3) = &quot;two-seven down-three&quot;<br /> | ||
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