Kite's ups and downs notation: Difference between revisions

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<h2>IMPORTED REVISION FROM WIKISPACES</h2>

This is an imported revision from Wikispaces. The revision metadata is included below for reference:

: This revision was by author [[User:TallKite|TallKite]] and made on <tt>2016-07-23 00:23:45 UTC</tt>.

: This revision was by author [[User:TallKite|TallKite]] and made on <tt>2016-07-23 00:50:09 UTC</tt>.

: The original revision id was <tt>~~587607995~~</tt>.

: The original revision id was <tt>587608403</tt>.

: The revision comment was: <tt></tt>

The revision contents are below, presented both in the original Wikispaces Wikitext format, and in HTML exactly as Wikispaces rendered it.

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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~~. In larger edos, they would be necessary~~. Thus 7\22 would never be written ^^m3.

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 & G, and is written "C" and pronounced "C" or "C major".

Line 220:

0-6-13 = C Eb^ G is "C.^m", "C upminor"

0-5-13 = C Eb G is "Cm", "C minor"

The period isn't needed ~~here~~ because there's no ups or downs immediately after the note name.

The period isn't needed in the last chord name because there's no ups or downs immediately after the note name.

0-8-13-18 = C E G Bb is "C7", "C seven", a standard C7 chord with a M3 and a m7.

Line 240:

0-5-13 = C Eb G = Cm

0-6-13 = C Eb^ G = C.^m

0-7-13 = C Ev G = C.vM

0-7-13 = C Ev G = C.v

0-8-13 = C E G = C

0-9-13 = C F G = Csus4

Line 257:

Sometimes doubled ups/downs are unavoidable:

0-6-12-15 = C Eb^ Gv Avv = Cm6(^3,v5,vv6), or C Eb^ Gb^^ Bbb = Cdim7(^3,^^5)

~~0-7-13-16 = C Ev G Av = C.vM6 (the down symbol applies to both the 3rd and the 6th)~~

0-8-13-17 = C E G A = C6

0-7-13-16 = C Ev G Av = C.v6

0-8-13-16 = C E G Av = C(v6)

0-7-13-17 = C Ev G A = C6(v3)

0-7-13-16 = C Ev G Av = C.v6 (the down symbol applies to both the 3rd and the 6th)

0-5-13-18 = C Eb G Bb = Cm7

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0-8-13-21 = C E G B = CM7

0-5-13-16 = C Eb G Av = ~~Cm6~~(v6)

0-5-13-16 = C Eb G Av = Cm(v6)

0-8-13-19 = C E G Bb^ = C7(^7)

0-8-13-19 = C E G Bb^ = C(^7)

0-7-13-18-26 = C Ev G Bb D = C9(v3)

0-7-13-18-26-32 = C Ev G Bb D F^ = ~~C11~~(v3,^11)

0-7-13-18-26-32 = C Ev G Bb D F^ = C9(v3,^11)

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":

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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

~~Quality can also be omitted in the chord names if we use the mid symbol "~" to mean "perfect".~~

0-3-12 = D E A = Dsus2

0-4-12 = D Fvv A = D.vv, or D E^ A = Dsus^2

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0-6-12 = D F A = D.~ ("D dot mid")

0-7-12 = D F^ A = D.^ ("D dot up")

0-8-12 = ^^ or ~~susv4~~

0-8-12 = D F^^ A = D.^^, or D Gv A = Dsusv4

0-9-12 = ~~sus4~~

0-9-12 = D G A = Dsus4

0-6-11 = ~(v5)

0-6-11 = D F Av = D.~(v5)

0-6-12-18 = 7

0-6-12-18 = D F A C = D7

0-7-12-18 = 7(^3)

0-7-12-18 = D F^ A C = D7(^3)

0-7-12-19 = ^7

0-7-12-19 = D F^ A C^ = D.^7

0-7-12-17 = ^(v7)

0-7-12-17 = D F^ A Cv = D.^(v7)

0-6-12-15 = 6

0-6-12-15 = D F A B = D6

0-7-12-15 = 6(^3)

0-7-12-15 = D F^ A B = D6(^3)

0-7-12-16 = ^6

0-7-12-16 = D F^ A B^ = D.^6

0-7-12-14 = ^(v6)

0-7-12-14 = D F^ A Bv = D.^(v6)

24edo: D * * * E * F * * * G * * * A * * * B * C * * * D, 2 keys per #/b.

chord components: P1 vm2 m2 ~~vM2~~ M2 vm3 m3 ~~vM3~~ M3 ^M3/vP4 P4 ^P4 A4/d5 vP5 P5 vm6 m6 ~~vM6~~ M6 ^M6/vm7 m7 ~~vM7~~ M7 ^M7

chord components: P1 vm2 m2 ~2 M2 vm3 m3 ~3 M3 ^M3/vP4 P4 ^P4 A4/d5 vP5 P5 vm6 m6 ~6 M6 ^M6/vm7 m7 ~7 M7 ^M7

chord roots: I v#I/vbII #I/bII vII II vbIII bIII vIII III ^III/vIV IV ^IV #IV/bV vV V ^#V/vbVI bVI vVI VI ^VI/vbVII bVII vVII VII ^VII/vI

0-5-14 = vm

0-5-14 = D Fv A = D.vm

0-6-14 = m

0-6-14 = D F A = Dm

0-7-14 = ~

0-7-14 = D F^ A = D.~

0-8-14 = M

0-8-14 = D F# A = D (major)

0-9-14 = ^M

0-9-14 = D F#^ A = D.^

0-10-14 = ~~sus4~~

0-10-14 = D G A = Dsus4

31edo: D * * * * E * * F * * * * G * * * * A etc. 2 keys per #/b.

P1 ^P1 vm2 m2 vM2 M2 ^M2 vm3 m3 vM3 M3 ^M3 vP4 P4 ^P4 A4 d5 vP5 P5 etc.

I ^I vbII bII vII II ^II vbIII bIII vIII III ^III vIV IV ^IV #IV bV vV V etc.

0-7-18 = vm

0-7-18 = D Fv A = D.vm

0-8-18 = m

0-8-18 = D F A = Dm

0-9-18 = ~

0-9-18 = D F^ A = D.~

0-10-18 = M

0-10-18 = D F# A = D (major)

0-11-18 = ^M

0-11-18 = D F#^ A = D.^

0-12-18 = ~~susv4~~

0-12-18 = D Gv A = Dsusv4

==**__Cross-EDO considerations__**==

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These are pronounced &quot;downmajor second&quot;, &quot;upminor third&quot;, etc. For 4ths and 5ths, &quot;perfect&quot; is implied and can be omitted: ^P4 = &quot;up-fourth&quot; and vP5 = &quot;down-fifth&quot;. In larger edos there may be &quot;down-octave&quot;, &quot;up-unison&quot;, etc.

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

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 &quot;C&quot; and pronounced &quot;C&quot; or &quot;C major&quot;.

Line 1,336:

Line 1,337:

0-6-13 = C Eb^ G is &quot;C.^m&quot;, &quot;C upminor&quot;

0-5-13 = C Eb G is &quot;Cm&quot;, &quot;C minor&quot;

The period isn't needed ~~here~~ because there's no ups or downs immediately after the note name.

The period isn't needed in the last chord name because there's no ups or downs immediately after the note name.

0-8-13-18 = C E G Bb is &quot;C7&quot;, &quot;C seven&quot;, a standard C7 chord with a M3 and a m7.

Line 1,356:

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0-5-13 = C Eb G = Cm

0-6-13 = C Eb^ G = C.^m

0-7-13 = C Ev G = C.vM

0-7-13 = C Ev G = C.v

0-8-13 = C E G = C

0-9-13 = C F G = Csus4

Line 1,373:

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Sometimes doubled ups/downs are unavoidable:

0-6-12-15 = C Eb^ Gv Avv = Cm6(^3,v5,vv6), or C Eb^ Gb^^ Bbb = Cdim7(^3,^^5)

~~0-7-13-16 = C Ev G Av = C.vM6 (the down symbol applies to both the 3rd and the 6th)~~

0-8-13-17 = C E G A = C6

0-7-13-16 = C Ev G Av = C.v6

0-8-13-16 = C E G Av = C(v6)

0-7-13-17 = C Ev G A = C6(v3)

0-7-13-16 = C Ev G Av = C.v6 (the down symbol applies to both the 3rd and the 6th)

0-5-13-18 = C Eb G Bb = Cm7

Line 1,382:

Line 1,385:

0-8-13-21 = C E G B = CM7

0-5-13-16 = C Eb G Av = ~~Cm6~~(v6)

0-5-13-16 = C Eb G Av = Cm(v6)

0-8-13-19 = C E G Bb^ = C7(^7)

0-8-13-19 = C E G Bb^ = C(^7)

0-7-13-18-26 = C Ev G Bb D = C9(v3)

0-7-13-18-26-32 = C Ev G Bb D F^ = ~~C11~~(v3,^11)

0-7-13-18-26-32 = C Ev G Bb D F^ = C9(v3,^11)

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;:

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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

~~Quality can also be omitted in the chord names if we use the mid symbol &quot;~&quot; to mean &quot;perfect&quot;. ~~

0-3-12 = D E A = Dsus2

0-4-12 = D Fvv A = D.vv, or D E^ A = Dsus^2

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0-6-12 = D F A = D.~ (&quot;D dot mid&quot;)

0-7-12 = D F^ A = D.^ (&quot;D dot up&quot;)

0-8-12 = ^^ or ~~susv4~~

0-8-12 = D F^^ A = D.^^, or D Gv A = Dsusv4

0-9-12 = ~~sus4~~

0-9-12 = D G A = Dsus4

0-6-11 = ~(v5)

0-6-11 = D F Av = D.~(v5)

0-6-12-18 = 7

0-6-12-18 = D F A C = D7

0-7-12-18 = 7(^3)

0-7-12-18 = D F^ A C = D7(^3)

0-7-12-19 = ^7

0-7-12-19 = D F^ A C^ = D.^7

0-7-12-17 = ^(v7)

0-7-12-17 = D F^ A Cv = D.^(v7)

0-6-12-15 = 6

0-6-12-15 = D F A B = D6

0-7-12-15 = 6(^3)

0-7-12-15 = D F^ A B = D6(^3)

0-7-12-16 = ^6

0-7-12-16 = D F^ A B^ = D.^6

0-7-12-14 = ^(v6)

0-7-12-14 = D F^ A Bv = D.^(v6)

24edo: D * * * E * F * * * G * * * A * * * B * C * * * D, 2 keys per #/b.

chord components: P1 vm2 m2 ~~vM2~~ M2 vm3 m3 ~~vM3~~ M3 ^M3/vP4 P4 ^P4 A4/d5 vP5 P5 vm6 m6 ~~vM6~~ M6 ^M6/vm7 m7 ~~vM7~~ M7 ^M7

chord components: P1 vm2 m2 ~2 M2 vm3 m3 ~3 M3 ^M3/vP4 P4 ^P4 A4/d5 vP5 P5 vm6 m6 ~6 M6 ^M6/vm7 m7 ~7 M7 ^M7

chord roots: I v#I/vbII #I/bII vII II vbIII bIII vIII III ^III/vIV IV ^IV #IV/bV vV V ^#V/vbVI bVI vVI VI ^VI/vbVII bVII vVII VII ^VII/vI

0-5-14 = vm

0-5-14 = D Fv A = D.vm

0-6-14 = m

0-6-14 = D F A = Dm

0-7-14 = ~

0-7-14 = D F^ A = D.~

0-8-14 = M

0-8-14 = D F# A = D (major)

0-9-14 = ^M

0-9-14 = D F#^ A = D.^

0-10-14 = ~~sus4~~

0-10-14 = D G A = Dsus4

31edo: D * * * * E * * F * * * * G * * * * A etc. 2 keys per #/b.

P1 ^P1 vm2 m2 vM2 M2 ^M2 vm3 m3 vM3 M3 ^M3 vP4 P4 ^P4 A4 d5 vP5 P5 etc.

I ^I vbII bII vII II ^II vbIII bIII vIII III ^III vIV IV ^IV #IV bV vV V etc.

0-7-18 = vm

0-7-18 = D Fv A = D.vm

0-8-18 = m

0-8-18 = D F A = Dm

0-9-18 = ~

0-9-18 = D F^ A = D.~

0-10-18 = M

0-10-18 = D F# A = D (major)

0-11-18 = ^M

0-11-18 = D F#^ A = D.^

0-12-18 = ~~susv4~~

0-12-18 = D Gv A = Dsusv4

<h2 id="toc8"><a name="Naming Chords-Cross-EDO considerations"></a>Cross-EDO considerations</h2>

@@ Line 1: / Line 1: @@
 <h2>IMPORTED REVISION FROM WIKISPACES</h2>
 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 00:23:45 UTC</tt>.<br>
+: This revision was by author [[User:TallKite|TallKite]] and made on <tt>2016-07-23 00:50:09 UTC</tt>.<br>
-: The original revision id was <tt>587607995</tt>.<br>
+: The original revision id was <tt>587608403</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>
@@ 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.
-There are some alternate names. However double-ups and double-downs are to be avoided in 22edo. In larger edos, they would be necessary. Thus 7\22 would never be written ^^m3.
+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.
 -8-13 in C has C E &amp; G, and is written "C" and pronounced "C" or "C major".
@@ Line 220: / Line 220: @@
 -6-13 = C Eb^ G is "C.^m", "C upminor"
 -5-13 = C Eb G is "Cm", "C minor"
-The period isn't needed here because there's no ups or downs immediately after the note name.
+The period isn't needed in the last chord name because there's no ups or downs immediately after the note name.
 -8-13-18 = C E G Bb is "C7", "C seven", a standard C7 chord with a M3 and a m7.
@@ Line 240: / Line 240: @@
 -5-13 = C Eb G = Cm
 -6-13 = C Eb^ G = C.^m
--7-13 = C Ev G = C.vM
+-7-13 = C Ev G = C.v
 -8-13 = C E G = C
 -9-13 = C F G = Csus4
@@ Line 257: / Line 257: @@
 Sometimes doubled ups/downs are unavoidable:
 -6-12-15 = C Eb^ Gv Avv = Cm6(^3,v5,vv6), or C Eb^ Gb^^ Bbb = Cdim7(^3,^^5)
--7-13-16 = C Ev G Av = C.vM6 (the down symbol applies to both the 3rd and the 6th)
 -8-13-17 = C E G A = C6
--7-13-16 = C Ev G Av = C.v6
+-8-13-16 = C E G Av = C(v6)
+-7-13-17 = C Ev G A = C6(v3)
+-7-13-16 = C Ev G Av = C.v6 (the down symbol applies to both the 3rd and the 6th)
 -5-13-18 = C Eb G Bb = Cm7
@@ Line 266: / Line 268: @@
 -8-13-21 = C E G B = CM7
--5-13-16 = C Eb G Av = Cm6(v6)
+-5-13-16 = C Eb G Av = Cm(v6)
--8-13-19 = C E G Bb^ = C7(^7)
+-8-13-19 = C E G Bb^ = C(^7)
 -7-13-18-26 = C Ev G Bb D = C9(v3)
--7-13-18-26-32 = C Ev G Bb D F^ = C11(v3,^11)
+-7-13-18-26-32 = C Ev G Bb D F^ = C9(v3,^11)
 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":
@@ Line 385: / Line 387: @@
 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
-Quality can also be omitted in the chord names if we use the mid symbol "~" to mean "perfect".
 -3-12 = D E A = Dsus2
 -4-12 = D Fvv A = D.vv, or D E^ A = Dsus^2
@@ Line 391: / Line 392: @@
 -6-12 = D F A = D.~ ("D dot mid")
 -7-12 = D F^ A = D.^ ("D dot up")
--8-12 = ^^ or susv4
+-8-12 = D F^^ A = D.^^, or D Gv A = Dsusv4
--9-12 = sus4
+-9-12 = D G A = Dsus4
--6-11 = ~(v5)
+-6-11 = D F Av = D.~(v5)
--6-12-18 = 7
+-6-12-18 = D F A C = D7
--7-12-18 = 7(^3)
+-7-12-18 = D F^ A C = D7(^3)
--7-12-19 = ^7
+-7-12-19 = D F^ A C^ = D.^7
--7-12-17 = ^(v7)
+-7-12-17 = D F^ A Cv = D.^(v7)
--6-12-15 = 6
+-6-12-15 = D F A B = D6
--7-12-15 = 6(^3)
+-7-12-15 = D F^ A B = D6(^3)
--7-12-16 = ^6
+-7-12-16 = D F^ A B^ = D.^6
--7-12-14 = ^(v6)
+-7-12-14 = D F^ A Bv = D.^(v6)
 edo: D * * * E * F * * * G * * * A * * * B * C * * * D, 2 keys per #/b.
-chord components: P1 vm2 m2 vM2 M2 vm3 m3 vM3 M3 ^M3/vP4 P4 ^P4 A4/d5 vP5 P5 vm6 m6 vM6 M6 ^M6/vm7 m7 vM7 M7 ^M7
+chord components: P1 vm2 m2 ~2 M2 vm3 m3 ~3 M3 ^M3/vP4 P4 ^P4 A4/d5 vP5 P5 vm6 m6 ~6 M6 ^M6/vm7 m7 ~7 M7 ^M7
 chord roots: I v#I/vbII #I/bII vII II vbIII bIII vIII III ^III/vIV IV ^IV #IV/bV vV V ^#V/vbVI bVI vVI VI ^VI/vbVII bVII vVII VII ^VII/vI
--5-14 = vm
+-5-14 = D Fv A = D.vm
--6-14 = m
+-6-14 = D F A = Dm
--7-14 = ~
+-7-14 = D F^ A = D.~
--8-14 = M
+-8-14 = D F# A = D (major)
--9-14 = ^M
+-9-14 = D F#^ A = D.^
--10-14 = sus4
+-10-14 = D G A = Dsus4
 edo: D * * * * E * * F * * * * G * * * * A etc. 2 keys per #/b.
 P1 ^P1 vm2 m2 vM2 M2 ^M2 vm3 m3 vM3 M3 ^M3 vP4 P4 ^P4 A4 d5 vP5 P5 etc.
 I ^I vbII bII vII II ^II vbIII bIII vIII III ^III vIV IV ^IV #IV bV vV V etc.
--7-18 = vm
+-7-18 = D Fv A = D.vm
--8-18 = m
+-8-18 = D F A = Dm
--9-18 = ~
+-9-18 = D F^ A = D.~
--10-18 = M
+-10-18 = D F# A = D (major)
--11-18 = ^M
+-11-18 = D F#^ A = D.^
--12-18 = susv4
+-12-18 = D Gv A = Dsusv4
 ==**__Cross-EDO considerations__**==
@@ Line 1,329: / Line 1,330: @@
 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;
-There are some alternate names. However double-ups and double-downs are to be avoided in 22edo. In larger edos, they would be necessary. Thus 7\22 would never be written ^^m3.&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;
 -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 1,336: / Line 1,337: @@
 -6-13 = C Eb^ G is &amp;quot;C.^m&amp;quot;, &amp;quot;C upminor&amp;quot;&lt;br /&gt;
 -5-13 = C Eb G is &amp;quot;Cm&amp;quot;, &amp;quot;C minor&amp;quot;&lt;br /&gt;
-The period isn't needed here because there's no ups or downs immediately after the note name.&lt;br /&gt;
+The period isn't needed in the last chord name because there's no ups or downs immediately after the note name.&lt;br /&gt;
 &lt;br /&gt;
 -8-13-18 = C E G Bb is &amp;quot;C7&amp;quot;, &amp;quot;C seven&amp;quot;, a standard C7 chord with a M3 and a m7.&lt;br /&gt;
@@ Line 1,356: / Line 1,357: @@
 -5-13 = C Eb G = Cm&lt;br /&gt;
 -6-13 = C Eb^ G = C.^m&lt;br /&gt;
--7-13 = C Ev G = C.vM&lt;br /&gt;
+-7-13 = C Ev G = C.v&lt;br /&gt;
 -8-13 = C E G = C&lt;br /&gt;
 -9-13 = C F G = Csus4&lt;br /&gt;
@@ Line 1,373: / Line 1,374: @@
 Sometimes doubled ups/downs are unavoidable:&lt;br /&gt;
 -6-12-15 = C Eb^ Gv Avv = Cm6(^3,v5,vv6), or C Eb^ Gb^^ Bbb = Cdim7(^3,^^5)&lt;br /&gt;
--7-13-16 = C Ev G Av = C.vM6 (the down symbol applies to both the 3rd and the 6th)&lt;br /&gt;
+&lt;br /&gt;
 -8-13-17 = C E G A = C6&lt;br /&gt;
--7-13-16 = C Ev G Av = C.v6&lt;br /&gt;
+-8-13-16 = C E G Av = C(v6)&lt;br /&gt;
+-7-13-17 = C Ev G A = C6(v3)&lt;br /&gt;
+-7-13-16 = C Ev G Av = C.v6 (the down symbol applies to both the 3rd and the 6th)&lt;br /&gt;
 &lt;br /&gt;
 -5-13-18 = C Eb G Bb = Cm7&lt;br /&gt;
@@ Line 1,382: / Line 1,385: @@
 -8-13-21 = C E G B = CM7&lt;br /&gt;
 &lt;br /&gt;
--5-13-16 = C Eb G Av = Cm6(v6)&lt;br /&gt;
+-5-13-16 = C Eb G Av = Cm(v6)&lt;br /&gt;
--8-13-19 = C E G Bb^ = C7(^7)&lt;br /&gt;
+-8-13-19 = C E G Bb^ = C(^7)&lt;br /&gt;
 -7-13-18-26 = C Ev G Bb D = C9(v3)&lt;br /&gt;
--7-13-18-26-32 = C Ev G Bb D F^ = C11(v3,^11)&lt;br /&gt;
+-7-13-18-26-32 = C Ev G Bb D F^ = C9(v3,^11)&lt;br /&gt;
 &lt;br /&gt;
 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 &amp;quot;Tibia&amp;quot;:&lt;br /&gt;
@@ Line 1,501: / Line 1,504: @@
 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;
-Quality can also be omitted in the chord names if we use the mid symbol &amp;quot;~&amp;quot; to mean &amp;quot;perfect&amp;quot;.&lt;br /&gt;
 -3-12 = D E A = Dsus2&lt;br /&gt;
 -4-12 = D Fvv A = D.vv, or D E^ A = Dsus^2&lt;br /&gt;
@@ Line 1,507: / Line 1,509: @@
 -6-12 = D F A = D.~ (&amp;quot;D dot mid&amp;quot;)&lt;br /&gt;
 -7-12 = D F^ A = D.^ (&amp;quot;D dot up&amp;quot;)&lt;br /&gt;
--8-12 = ^^ or susv4&lt;br /&gt;
+-8-12 = D F^^ A = D.^^, or D Gv A = Dsusv4&lt;br /&gt;
--9-12 = sus4&lt;br /&gt;
+-9-12 = D G A = Dsus4&lt;br /&gt;
--6-11 = ~(v5)&lt;br /&gt;
+-6-11 = D F Av = D.~(v5)&lt;br /&gt;
 &lt;br /&gt;
--6-12-18 = 7&lt;br /&gt;
+-6-12-18 = D F A C = D7&lt;br /&gt;
--7-12-18 = 7(^3)&lt;br /&gt;
+-7-12-18 = D F^ A C = D7(^3)&lt;br /&gt;
--7-12-19 = ^7&lt;br /&gt;
+-7-12-19 = D F^ A C^ = D.^7&lt;br /&gt;
--7-12-17 = ^(v7)&lt;br /&gt;
+-7-12-17 = D F^ A Cv = D.^(v7)&lt;br /&gt;
--6-12-15 = 6&lt;br /&gt;
+-6-12-15 = D F A B = D6&lt;br /&gt;
--7-12-15 = 6(^3)&lt;br /&gt;
+-7-12-15 = D F^ A B = D6(^3)&lt;br /&gt;
--7-12-16 = ^6&lt;br /&gt;
+-7-12-16 = D F^ A B^ = D.^6&lt;br /&gt;
--7-12-14 = ^(v6)&lt;br /&gt;
+-7-12-14 = D F^ A Bv = D.^(v6)&lt;br /&gt;
 &lt;br /&gt;
 edo: D * * * E * F * * * G * * * A * * * B * C * * * D, 2 keys per #/b.&lt;br /&gt;
-chord components: P1 vm2 m2 vM2 M2 vm3 m3 vM3 M3 ^M3/vP4 P4 ^P4 A4/d5 vP5 P5 vm6 m6 vM6 M6 ^M6/vm7 m7 vM7 M7 ^M7&lt;br /&gt;
+chord components: P1 vm2 m2 ~2 M2 vm3 m3 ~3 M3 ^M3/vP4 P4 ^P4 A4/d5 vP5 P5 vm6 m6 ~6 M6 ^M6/vm7 m7 ~7 M7 ^M7&lt;br /&gt;
 chord roots: I v#I/vbII #I/bII vII II vbIII bIII vIII III ^III/vIV IV ^IV #IV/bV vV V ^#V/vbVI bVI vVI VI ^VI/vbVII bVII vVII VII ^VII/vI&lt;br /&gt;
--5-14 = vm&lt;br /&gt;
+-5-14 = D Fv A = D.vm&lt;br /&gt;
--6-14 = m&lt;br /&gt;
+-6-14 = D F A = Dm&lt;br /&gt;
--7-14 = ~&lt;br /&gt;
+-7-14 = D F^ A = D.~&lt;br /&gt;
--8-14 = M&lt;br /&gt;
+-8-14 = D F# A = D (major)&lt;br /&gt;
--9-14 = ^M&lt;br /&gt;
+-9-14 = D F#^ A = D.^&lt;br /&gt;
--10-14 = sus4&lt;br /&gt;
+-10-14 = D G A = Dsus4&lt;br /&gt;
 &lt;br /&gt;
 edo: D * * * * E * * F * * * * G * * * * A etc. 2 keys per #/b.&lt;br /&gt;
 P1 ^P1 vm2 m2 vM2 M2 ^M2 vm3 m3 vM3 M3 ^M3 vP4 P4 ^P4 A4 d5 vP5 P5 etc.&lt;br /&gt;
 I ^I vbII bII vII II ^II vbIII bIII vIII III ^III vIV IV ^IV #IV bV vV V etc.&lt;br /&gt;
--7-18 = vm&lt;br /&gt;
+-7-18 = D Fv A = D.vm&lt;br /&gt;
--8-18 = m&lt;br /&gt;
+-8-18 = D F A = Dm&lt;br /&gt;
--9-18 = ~&lt;br /&gt;
+-9-18 = D F^ A = D.~&lt;br /&gt;
--10-18 = M&lt;br /&gt;
+-10-18 = D F# A = D (major)&lt;br /&gt;
--11-18 = ^M&lt;br /&gt;
+-11-18 = D F#^ A = D.^&lt;br /&gt;
--12-18 = susv4&lt;br /&gt;
+-12-18 = D Gv A = Dsusv4&lt;br /&gt;
 &lt;br /&gt;
 &lt;!-- ws:start:WikiTextHeadingRule:16:&amp;lt;h2&amp;gt; --&gt;&lt;h2 id="toc8"&gt;&lt;a name="Naming Chords-Cross-EDO considerations"&gt;&lt;/a&gt;&lt;!-- ws:end:WikiTextHeadingRule:16 --&gt;&lt;strong&gt;&lt;u&gt;Cross-EDO considerations&lt;/u&gt;&lt;/strong&gt;&lt;/h2&gt;