Xenharmonic Wiki

Kite's ups and downs notation: Difference between revisions

← Older editNewer edit →
VisualWikitext
Wikispaces>TallKite
**Imported revision 587608907 - Original comment: **
Wikispaces>TallKite
**Imported revision 588442698 - Original comment: **
Line 1: Line 1:
<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>2016-07-23 01:35:37 UTC</tt>.<br>
: This revision was by author [[User:TallKite|TallKite]] and made on <tt>2016-07-31 17:42:31 UTC</tt>.<br>
: The original revision id was <tt>587608907</tt>.<br>
: The original revision id was <tt>588442698</tt>.<br>
: The revision comment was: <tt></tt><br>
: The revision comment was: <tt></tt><br>
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>
Line 213: Line 213:
These are pronounced "downmajor second", "upminor third", etc. For 4ths and 5ths, "perfect" is implied and can be omitted: ^P4 = "up-fourth" and vP5 = "down-fifth". In larger edos there may be "down-octave", "up-unison", etc.
These are pronounced "downmajor second", "upminor third", etc. For 4ths and 5ths, "perfect" is implied and can be omitted: ^P4 = "up-fourth" and vP5 = "down-fifth". In larger edos there may be "down-octave", "up-unison", etc.


There are some alternate names. However double-ups and double-downs are to be avoided in 22edo. Thus 7\22 would never be written ^^m3. In larger edos, they would be necessary.  
There are some alternate names. However double-ups and double-downs are to be avoided in 22edo. Thus 7\22 would never be written ^^m3. In larger edos, they would be necessary.


0-8-13 in C has C E &amp; G, and is written "C" and pronounced "C" or "C major".
0-8-13 in C has C E &amp; G, and is written "C" and pronounced "C" or "C major".
Line 320: Line 320:
==__Chord names in other EDOs__==  
==__Chord names in other EDOs__==  


When applied to notes, the mid symbol "~"means "neither up nor down". But in chord names it means something different. In perfect EDOs, where the sharp equals 0 keys, it means "perfect". For EDOs where the sharp equals an even number of keys, it means "exactly midway between major and minor". The period is used as before to clarify whether the mid applies to the chord root or the chord name.
When applied to notes, the mid symbol "~"means "neither up nor down". But in chord names it means something different. In perfect EDOs like 14edo, where the sharp equals 0 keys, it means "perfect". For EDOs where the sharp equals an even number of keys, it means "exactly midway between major and minor". The period is used as before to clarify whether the mid applies to the chord root or the chord name.
 
14edo: D * E * F * G * A * B * C * D, zero keys per #/b.
(the chain of fifths is always centered on D, for symmetry)
chord components: P1 vP2 P2 vP3 P3, etc.
Because every interval is perfect, the quality can be omitted
chord components: 1 v2 2 v3 3 ^3/v4 4 ^4/v5 5 ^5/v6 6 ^6/v7 7 ^7/v8
chord roots: I ^I/vII II ^II/vIII III vIII/vIV IV ^IV/vV V ^V/vVI VI ^VI/vVII VII ^VII/vI
 
0-2-8 = D E A = Dsus2
0-3-8 = D Fv A = D.v ("D dot down")
0-4-8 = D F A = D ("D" or "D perfect")
0-5-8 = D F^ A = D.^ ("D dot up")
0-6-8 = D G A = Dsus4
 
0-3-7 = D Fv Av = D.v(v5) ("D dot down, down five")
0-4-7 = D F Av = D(v5) ("D, down five")
0-4-9 = D F A^ = D(^5) ("D, up five")
0-5-9 = D F^ A^ = D.^(^5) ("D dot up, up five")
 
0-4-8-12 = D F A C = D7 ("D seven")
0-5-8-12 = D F^ A C = D7(^3) ("D seven, up three")
0-4-8-13 = D F A C^ = D(^7) ("D, up seven")
0-5-8-13 = D F^ A C^ = D.^7 ("D dot up seven")
0-3-8-12 = D Fv A C = D7(v3) ("D seven, down three")
0-4-8-11 = D F A Cv = D(v7) ("D, down seven"), or D F A B^ = D(^6)
0-3-8-11 = D Fv A Cv = D.v7 ("D dot down seven"), or possibly D Fv A B^ = D.v(^6)
0-3-8-13 = D Fv A C^ = D.v(^7) ("D dot down, up seven")
0-5-8-11 = D F^ A Cv = D.^(v7) ("D dot up, down seven"), or more likely D F^ A B^ = D.^6
 
0-4-8-10 = D F A B = D6
0-5-8-10 = D F^ A B = D6(^3)
0-4-8-11 = D F A B^ = D(^6), or D F A Cv = D(^7)
0-5-8-11 = D F^ A B^ = D.^6, or possibly D F^ A Cv = D.^(v7)
0-5-8-9 = D F^ A Bv = D.^(v6)
 
0-4-7-12 = D F Av C = D7(v5) ("D seven, down five")
0-3-7-12 = D Fv Av C = D7(v3,v5) ("D seven, down three, down five")
0-4-7-11 = D F Av Cv = D(v7,v5) ("D, down seven, down five")
0-3-7-11 = D Fv Av Cv = D.v7(v5) ("D dot down seven, down five")


15edo: 3 keys per #/b, so ups and downs are needed.
15edo: 3 keys per #/b, so ups and downs are needed.
keyboard/fretboard: D * * E/F * * G * * A * * B/C * * D
keyboard/fretboard: D * * E/F * * G * * A * * B/C * * D
(the chain of fifths is always centered on D)
chord components: P1 ^m2 vM2 M2/m3 ^m3 vM3 M3/P4 ^P4 vP5 P5 ^m6 vM6 M6/m7 ^m7 vM7
chord components: P1 ^m2 vM2 M2/m3 ^m3 vM3 M3/P4 ^P4 vP5 P5 ^m6 vM6 M6/m7 ^m7 vM7
chord roots: I ^bII vII II/bIII ^bIII vIII III/IV ^IV vV V ^bVI vVI VI/bVII ^bVII vVII
chord roots: I ^bII vII II/bIII ^bIII vIII III/IV ^IV vV V ^bVI vVI VI/bVII ^bVII vVII
0-3-9 = D F A = Dm (or possibly D E A = Dsus2)
0-3-9 = D F A = Dm (or possibly D E A = Dsus2)
0-4-9 = D F^ A = D.^m
0-4-9 = D F^ A = D.^m
Line 333: Line 372:
0-5-9-12 = D F#v A C = D7(v3) (or possibly D F#v A B = D6(v3))
0-5-9-12 = D F#v A C = D7(v3) (or possibly D F#v A B = D6(v3))


16edo: D * E * * F * G * A * B * * C * D, 1 key per #/b, ups and downs not needed.  
16edo: D * E * * F * G * A * B * * C * D, 1 key per #/b, ups and downs not needed.
if # is fourthward and raises the pitch, and major is wider than minor:
if # is fourthward and raises the pitch, and major is wider than minor:
chord components: P1 d2 m2 M2 m3 M3 A3 P4 A4/d5 P5 d6 m6 M6/d7 m7 M7 A7
chord components: P1 d2 m2 M2 m3 M3 A3 P4 A4/d5 P5 d6 m6 M6/d7 m7 M7 A7
Line 383: Line 422:


21edo: D * * E * * F * * G * * A * * B * * C * * D, zero keys per #/b.
21edo: D * * E * * F * * G * * A * * B * * C * * D, zero keys per #/b.
chord components: P1 ^P1/vvP2 vP2 P2 ^P2 vP3 P3 ^P3 vP4 P4 ^P4 vP5 P5 ^P5 vP6 P6 ^P6 vP7 P7 ^P7 ^^P7/vP8
Because every interval is perfect, the quality can be omitted.
Because everything is perfect, the quality can be omitted.
chord components: 1 ^1/vv2 v2 2 ^2 v3 3 ^3 v4 4 ^4 v5 5 ^5 v6 6 ^6 v7 7 ^7 ^^7/v8
chord components: 1 ^1/vv2 v2 2 ^2 v3 3 ^3 v4 4 ^4 v5 5 ^5 v6 6 ^6 v7 7 ^7 ^^7/v8
chord roots: I ^I vII II ^II vIII III vIII vIV IV ^IV vV V ^V vVI VI ^VI vVII VII ^VII vI
chord roots: I ^I vII II ^II vIII III vIII vIV IV ^IV vV V ^V vVI VI ^VI vVII VII ^VII vI
0-3-12 = D E A = Dsus2
0-3-12 = D E A = Dsus2
0-4-12 = D Fvv A = D.vv, or D E^ A = Dsus^2
0-4-12 = D Fvv A = D.vv, or D E^ A = Dsus^2
0-5-12 = D Fv A = D.v ("D dot down")
0-5-12 = D Fv A = D.v ("D dot down")
0-6-12 = D F A = D.~ ("D dot mid")
0-6-12 = D F A = D ("D" or "D perfect")
0-7-12 = D F^ A = D.^ ("D dot up")
0-7-12 = D F^ A = D.^ ("D dot up")
0-8-12 = D F^^ A = D.^^, or D Gv A = Dsusv4
0-8-12 = D F^^ A = D.^^, or D Gv A = Dsusv4
0-9-12 = D G A = Dsus4
0-9-12 = D G A = Dsus4
0-6-11 = D F Av = D.~(v5)
 
0-5-11 = D Fv Av = D.v(v5)
0-6-11 = D F Av = D(v5)
0-6-13 = D F A^ = D(^5)
0-7-13 = D F^ A^ = D.^(^5)


0-6-12-18 = D F A C = D7
0-6-12-18 = D F A C = D7
0-7-12-18 = D F^ A C = D7(^3)
0-7-12-18 = D F^ A C = D7(^3)
0-6-12-19 = D F A C^ = D7(^7)
0-7-12-19 = D F^ A C^ = D.^7
0-7-12-19 = D F^ A C^ = D.^7
0-7-12-17 = D F^ A Cv = D.^(v7)
0-7-12-17 = D F^ A Cv = D.^(v7)
0-5-12-19 = D Fv A C^ = D.v(^7)
0-6-12-15 = D F A B = D6
0-6-12-15 = D F A B = D6
0-7-12-15 = D F^ A B = D6(^3)
0-7-12-15 = D F^ A B = D6(^3)
Line 1,357: Line 1,403:
These are pronounced &amp;quot;downmajor second&amp;quot;, &amp;quot;upminor third&amp;quot;, etc. For 4ths and 5ths, &amp;quot;perfect&amp;quot; is implied and can be omitted: ^P4 = &amp;quot;up-fourth&amp;quot; and vP5 = &amp;quot;down-fifth&amp;quot;. In larger edos there may be &amp;quot;down-octave&amp;quot;, &amp;quot;up-unison&amp;quot;, etc.&lt;br /&gt;
These are pronounced &amp;quot;downmajor second&amp;quot;, &amp;quot;upminor third&amp;quot;, etc. For 4ths and 5ths, &amp;quot;perfect&amp;quot; is implied and can be omitted: ^P4 = &amp;quot;up-fourth&amp;quot; and vP5 = &amp;quot;down-fifth&amp;quot;. In larger edos there may be &amp;quot;down-octave&amp;quot;, &amp;quot;up-unison&amp;quot;, etc.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
There are some alternate names. However double-ups and double-downs are to be avoided in 22edo. Thus 7\22 would never be written ^^m3. In larger edos, they would be necessary. &lt;br /&gt;
There are some alternate names. However double-ups and double-downs are to be avoided in 22edo. Thus 7\22 would never be written ^^m3. In larger edos, they would be necessary.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
0-8-13 in C has C E &amp;amp; G, and is written &amp;quot;C&amp;quot; and pronounced &amp;quot;C&amp;quot; or &amp;quot;C major&amp;quot;.&lt;br /&gt;
0-8-13 in C has C E &amp;amp; G, and is written &amp;quot;C&amp;quot; and pronounced &amp;quot;C&amp;quot; or &amp;quot;C major&amp;quot;.&lt;br /&gt;
Line 1,464: Line 1,510:
  &lt;!-- ws:start:WikiTextHeadingRule:14:&amp;lt;h2&amp;gt; --&gt;&lt;h2 id="toc7"&gt;&lt;a name="Naming Chords-Chord names in other EDOs"&gt;&lt;/a&gt;&lt;!-- ws:end:WikiTextHeadingRule:14 --&gt;&lt;u&gt;Chord names in other EDOs&lt;/u&gt;&lt;/h2&gt;
  &lt;!-- ws:start:WikiTextHeadingRule:14:&amp;lt;h2&amp;gt; --&gt;&lt;h2 id="toc7"&gt;&lt;a name="Naming Chords-Chord names in other EDOs"&gt;&lt;/a&gt;&lt;!-- ws:end:WikiTextHeadingRule:14 --&gt;&lt;u&gt;Chord names in other EDOs&lt;/u&gt;&lt;/h2&gt;
  &lt;br /&gt;
  &lt;br /&gt;
When applied to notes, the mid symbol &amp;quot;~&amp;quot;means &amp;quot;neither up nor down&amp;quot;. But in chord names it means something different. In perfect EDOs, where the sharp equals 0 keys, it means &amp;quot;perfect&amp;quot;. For EDOs where the sharp equals an even number of keys, it means &amp;quot;exactly midway between major and minor&amp;quot;. The period is used as before to clarify whether the mid applies to the chord root or the chord name.&lt;br /&gt;
When applied to notes, the mid symbol &amp;quot;~&amp;quot;means &amp;quot;neither up nor down&amp;quot;. But in chord names it means something different. In perfect EDOs like 14edo, where the sharp equals 0 keys, it means &amp;quot;perfect&amp;quot;. For EDOs where the sharp equals an even number of keys, it means &amp;quot;exactly midway between major and minor&amp;quot;. The period is used as before to clarify whether the mid applies to the chord root or the chord name.&lt;br /&gt;
&lt;br /&gt;
14edo: D * E * F * G * A * B * C * D, zero keys per #/b.&lt;br /&gt;
(the chain of fifths is always centered on D, for symmetry)&lt;br /&gt;
chord components: P1 vP2 P2 vP3 P3, etc.&lt;br /&gt;
Because every interval is perfect, the quality can be omitted&lt;br /&gt;
chord components: 1 v2 2 v3 3 ^3/v4 4 ^4/v5 5 ^5/v6 6 ^6/v7 7 ^7/v8&lt;br /&gt;
chord roots: I ^I/vII II ^II/vIII III vIII/vIV IV ^IV/vV V ^V/vVI VI ^VI/vVII VII ^VII/vI&lt;br /&gt;
&lt;br /&gt;
0-2-8 = D E A = Dsus2&lt;br /&gt;
0-3-8 = D Fv A = D.v (&amp;quot;D dot down&amp;quot;)&lt;br /&gt;
0-4-8 = D F A = D (&amp;quot;D&amp;quot; or &amp;quot;D perfect&amp;quot;)&lt;br /&gt;
0-5-8 = D F^ A = D.^ (&amp;quot;D dot up&amp;quot;)&lt;br /&gt;
0-6-8 = D G A = Dsus4&lt;br /&gt;
&lt;br /&gt;
0-3-7 = D Fv Av = D.v(v5) (&amp;quot;D dot down, down five&amp;quot;)&lt;br /&gt;
0-4-7 = D F Av = D(v5) (&amp;quot;D, down five&amp;quot;)&lt;br /&gt;
0-4-9 = D F A^ = D(^5) (&amp;quot;D, up five&amp;quot;)&lt;br /&gt;
0-5-9 = D F^ A^ = D.^(^5) (&amp;quot;D dot up, up five&amp;quot;)&lt;br /&gt;
&lt;br /&gt;
0-4-8-12 = D F A C = D7 (&amp;quot;D seven&amp;quot;)&lt;br /&gt;
0-5-8-12 = D F^ A C = D7(^3) (&amp;quot;D seven, up three&amp;quot;)&lt;br /&gt;
0-4-8-13 = D F A C^ = D(^7) (&amp;quot;D, up seven&amp;quot;)&lt;br /&gt;
0-5-8-13 = D F^ A C^ = D.^7 (&amp;quot;D dot up seven&amp;quot;)&lt;br /&gt;
0-3-8-12 = D Fv A C = D7(v3) (&amp;quot;D seven, down three&amp;quot;)&lt;br /&gt;
0-4-8-11 = D F A Cv = D(v7) (&amp;quot;D, down seven&amp;quot;), or D F A B^ = D(^6)&lt;br /&gt;
0-3-8-11 = D Fv A Cv = D.v7 (&amp;quot;D dot down seven&amp;quot;), or possibly D Fv A B^ = D.v(^6)&lt;br /&gt;
0-3-8-13 = D Fv A C^ = D.v(^7) (&amp;quot;D dot down, up seven&amp;quot;)&lt;br /&gt;
0-5-8-11 = D F^ A Cv = D.^(v7) (&amp;quot;D dot up, down seven&amp;quot;), or more likely D F^ A B^ = D.^6&lt;br /&gt;
&lt;br /&gt;
0-4-8-10 = D F A B = D6&lt;br /&gt;
0-5-8-10 = D F^ A B = D6(^3)&lt;br /&gt;
0-4-8-11 = D F A B^ = D(^6), or D F A Cv = D(^7)&lt;br /&gt;
0-5-8-11 = D F^ A B^ = D.^6, or possibly D F^ A Cv = D.^(v7)&lt;br /&gt;
0-5-8-9 = D F^ A Bv = D.^(v6)&lt;br /&gt;
&lt;br /&gt;
0-4-7-12 = D F Av C = D7(v5) (&amp;quot;D seven, down five&amp;quot;)&lt;br /&gt;
0-3-7-12 = D Fv Av C = D7(v3,v5) (&amp;quot;D seven, down three, down five&amp;quot;)&lt;br /&gt;
0-4-7-11 = D F Av Cv = D(v7,v5) (&amp;quot;D, down seven, down five&amp;quot;)&lt;br /&gt;
0-3-7-11 = D Fv Av Cv = D.v7(v5) (&amp;quot;D dot down seven, down five&amp;quot;)&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
15edo: 3 keys per #/b, so ups and downs are needed.&lt;br /&gt;
15edo: 3 keys per #/b, so ups and downs are needed.&lt;br /&gt;
keyboard/fretboard: D * * E/F * * G * * A * * B/C * * D&lt;br /&gt;
keyboard/fretboard: D * * E/F * * G * * A * * B/C * * D&lt;br /&gt;
(the chain of fifths is always centered on D)&lt;br /&gt;
chord components: P1 ^m2 vM2 M2/m3 ^m3 vM3 M3/P4 ^P4 vP5 P5 ^m6 vM6 M6/m7 ^m7 vM7&lt;br /&gt;
chord components: P1 ^m2 vM2 M2/m3 ^m3 vM3 M3/P4 ^P4 vP5 P5 ^m6 vM6 M6/m7 ^m7 vM7&lt;br /&gt;
chord roots: I ^bII vII II/bIII ^bIII vIII III/IV ^IV vV V ^bVI vVI VI/bVII ^bVII vVII&lt;br /&gt;
chord roots: I ^bII vII II/bIII ^bIII vIII III/IV ^IV vV V ^bVI vVI VI/bVII ^bVII vVII&lt;br /&gt;
&lt;br /&gt;
0-3-9 = D F A = Dm (or possibly D E A = Dsus2)&lt;br /&gt;
0-3-9 = D F A = Dm (or possibly D E A = Dsus2)&lt;br /&gt;
0-4-9 = D F^ A = D.^m&lt;br /&gt;
0-4-9 = D F^ A = D.^m&lt;br /&gt;
Line 1,477: Line 1,562:
0-5-9-12 = D F#v A C = D7(v3) (or possibly D F#v A B = D6(v3))&lt;br /&gt;
0-5-9-12 = D F#v A C = D7(v3) (or possibly D F#v A B = D6(v3))&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
16edo: D * E * * F * G * A * B * * C * D, 1 key per #/b, ups and downs not needed. &lt;br /&gt;
16edo: D * E * * F * G * A * B * * C * D, 1 key per #/b, ups and downs not needed.&lt;br /&gt;
if # is fourthward and raises the pitch, and major is wider than minor:&lt;br /&gt;
if # is fourthward and raises the pitch, and major is wider than minor:&lt;br /&gt;
chord components: P1 d2 m2 M2 m3 M3 A3 P4 A4/d5 P5 d6 m6 M6/d7 m7 M7 A7&lt;br /&gt;
chord components: P1 d2 m2 M2 m3 M3 A3 P4 A4/d5 P5 d6 m6 M6/d7 m7 M7 A7&lt;br /&gt;
Line 1,527: Line 1,612:
&lt;br /&gt;
&lt;br /&gt;
21edo: D * * E * * F * * G * * A * * B * * C * * D, zero keys per #/b.&lt;br /&gt;
21edo: D * * E * * F * * G * * A * * B * * C * * D, zero keys per #/b.&lt;br /&gt;
chord components: P1 ^P1/vvP2 vP2 P2 ^P2 vP3 P3 ^P3 vP4 P4 ^P4 vP5 P5 ^P5 vP6 P6 ^P6 vP7 P7 ^P7 ^^P7/vP8&lt;br /&gt;
Because every interval is perfect, the quality can be omitted.&lt;br /&gt;
Because everything is perfect, the quality can be omitted.&lt;br /&gt;
chord components: 1 ^1/vv2 v2 2 ^2 v3 3 ^3 v4 4 ^4 v5 5 ^5 v6 6 ^6 v7 7 ^7 ^^7/v8&lt;br /&gt;
chord components: 1 ^1/vv2 v2 2 ^2 v3 3 ^3 v4 4 ^4 v5 5 ^5 v6 6 ^6 v7 7 ^7 ^^7/v8&lt;br /&gt;
chord roots: I ^I vII II ^II vIII III vIII vIV IV ^IV vV V ^V vVI VI ^VI vVII VII ^VII vI&lt;br /&gt;
chord roots: I ^I vII II ^II vIII III vIII vIV IV ^IV vV V ^V vVI VI ^VI vVII VII ^VII vI&lt;br /&gt;
&lt;br /&gt;
0-3-12 = D E A = Dsus2&lt;br /&gt;
0-3-12 = D E A = Dsus2&lt;br /&gt;
0-4-12 = D Fvv A = D.vv, or D E^ A = Dsus^2&lt;br /&gt;
0-4-12 = D Fvv A = D.vv, or D E^ A = Dsus^2&lt;br /&gt;
0-5-12 = D Fv A = D.v (&amp;quot;D dot down&amp;quot;)&lt;br /&gt;
0-5-12 = D Fv A = D.v (&amp;quot;D dot down&amp;quot;)&lt;br /&gt;
0-6-12 = D F A = D.~ (&amp;quot;D dot mid&amp;quot;)&lt;br /&gt;
0-6-12 = D F A = D (&amp;quot;D&amp;quot; or &amp;quot;D perfect&amp;quot;)&lt;br /&gt;
0-7-12 = D F^ A = D.^ (&amp;quot;D dot up&amp;quot;)&lt;br /&gt;
0-7-12 = D F^ A = D.^ (&amp;quot;D dot up&amp;quot;)&lt;br /&gt;
0-8-12 = D F^^ A = D.^^, or D Gv A = Dsusv4&lt;br /&gt;
0-8-12 = D F^^ A = D.^^, or D Gv A = Dsusv4&lt;br /&gt;
0-9-12 = D G A = Dsus4&lt;br /&gt;
0-9-12 = D G A = Dsus4&lt;br /&gt;
0-6-11 = D F Av = D.~(v5)&lt;br /&gt;
&lt;br /&gt;
0-5-11 = D Fv Av = D.v(v5)&lt;br /&gt;
0-6-11 = D F Av = D(v5)&lt;br /&gt;
0-6-13 = D F A^ = D(^5)&lt;br /&gt;
0-7-13 = D F^ A^ = D.^(^5)&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
0-6-12-18 = D F A C = D7&lt;br /&gt;
0-6-12-18 = D F A C = D7&lt;br /&gt;
0-7-12-18 = D F^ A C = D7(^3)&lt;br /&gt;
0-7-12-18 = D F^ A C = D7(^3)&lt;br /&gt;
0-6-12-19 = D F A C^ = D7(^7)&lt;br /&gt;
0-7-12-19 = D F^ A C^ = D.^7&lt;br /&gt;
0-7-12-19 = D F^ A C^ = D.^7&lt;br /&gt;
0-7-12-17 = D F^ A Cv = D.^(v7)&lt;br /&gt;
0-7-12-17 = D F^ A Cv = D.^(v7)&lt;br /&gt;
0-5-12-19 = D Fv A C^ = D.v(^7)&lt;br /&gt;
&lt;br /&gt;
0-6-12-15 = D F A B = D6&lt;br /&gt;
0-6-12-15 = D F A B = D6&lt;br /&gt;
0-7-12-15 = D F^ A B = D6(^3)&lt;br /&gt;
0-7-12-15 = D F^ A B = D6(^3)&lt;br /&gt;
Retrieved from "https://en.xen.wiki/w/Kite%27s_ups_and_downs_notation"