Kite's ups and downs notation: Difference between revisions
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In perfect EDOs (7, 14, 21, 28 and 35), every interval is perfect, and there is no major or minor. In the following list of chord names, omit major, minor, dim and aug. Substitute up for upmajor and upminor, and down for downmajor and downminor. The C-E-G chord is called "C perfect" or simply "C". | In perfect EDOs (7, 14, 21, 28 and 35), every interval is perfect, and there is no major or minor. In the following list of chord names, omit major, minor, dim and aug. Substitute up for upmajor and upminor, and down for downmajor and downminor. The C-E-G chord is called "C perfect" or simply "C". | ||
An up or down between the chord root and the chord type (e.g. C^m7) is called a "global" up or down. Adding one to a chord raises or lowers the 3rd, and also the 6th, 7th or 11th, if present. Thus C down-nine is the usual C9 chord with the 3rd and 7th downed: Cv9 = C vE G vBb D. A "global mid" chord has a mid 3rd, 6th, 7th, and/or 11th. Global affects every other note of a stacked-3rds chord with a 6th below the root: '''<u> | An up or down between the chord root and the chord type (e.g. C^m7) is called a "global" up or down. Adding one to a chord raises or lowers the 3rd, and also the 6th, 7th or 11th, if present. Thus C down-nine is the usual C9 chord with the 3rd and 7th downed: Cv9 = C vE G vBb D. A "global mid" chord has a mid 3rd, 6th, 7th, and/or 11th. Global affects every other note of a stacked-3rds chord with a 6th below the root: '''<u>6th</u>''' - root - '''<u>3rd</u>''' - 5th - '''<u>7th</u>''' - 9th - '''<u>11th</u>''' - 13th. | ||
The rationale for this rule is that a chord often has a note a perfect fourth or fifth above the 3rd. Furthermore, in many EDOs, upfifths, downfifths, upfourths and downfourths will all be quite dissonant and rarely used in chords. Thus if the 3rd is upped or downed, the 6th or 7th likely would be too. However the 9th likely wouldn't, because that would create an upfifth or a downfifth with the 5th. By the same logic, if the 7th is upped or downed, the 11th would be too. | The rationale for this rule is that a chord often has a note a perfect fourth or fifth above the 3rd. Furthermore, in many EDOs, upfifths, downfifths, upfourths and downfourths will all be quite dissonant and rarely used in chords. Thus if the 3rd is upped or downed, the 6th or 7th likely would be too. However the 9th likely wouldn't, because that would create an upfifth or a downfifth with the 5th. By the same logic, if the 7th is upped or downed, the 11th would be too. | ||
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C vvE G = Cvv = "C double-down" (in EDOs 20, 27, 34, 41, etc., C~ = "C mid", in EDOs 25, 32, 39, 46, etc. C^~ = "C upmid") | C vvE G = Cvv = "C double-down" (in EDOs 20, 27, 34, 41, etc., C~ = "C mid", in EDOs 25, 32, 39, 46, etc. C^~ = "C upmid") | ||
This table shows how altering the 3rd or the 5th affects the name of the triad: | |||
{| class="wikitable" | {| class="wikitable" | ||
|+ | |+ | ||
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!sus4 | !sus4 | ||
!sus2 | !sus2 | ||
!aug | |||
!dim | !dim | ||
|- | |- | ||
!what's downed | !what's downed | ||
| Line 215: | Line 215: | ||
!C F G | !C F G | ||
!C D G | !C D G | ||
!C E G# | |||
!C Eb Gb | !C Eb Gb | ||
|- | |- | ||
|nothing | |nothing | ||
| Line 223: | Line 223: | ||
|C4 | |C4 | ||
|C2 | |C2 | ||
|C+ | |||
|Co | |Co | ||
|- | |- | ||
|3rd | |3rd | ||
| Line 231: | Line 231: | ||
|Cv4 | |Cv4 | ||
|Cv2 | |Cv2 | ||
|Cv+ | |||
|Cvo | |Cvo | ||
|- | |- | ||
|5th | |5th | ||
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|C4(v5) | |C4(v5) | ||
|C2(v5) | |C2(v5) | ||
|C+(v5) | |||
|Co(v5) | |Co(v5) | ||
|- | |- | ||
|3rd, 5th | |3rd, 5th | ||
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|Cv4(v5) | |Cv4(v5) | ||
|Cv2(v5) | |Cv2(v5) | ||
|Cv+(v5) | |||
|Cvo(v5) | |Cvo(v5) | ||
|} | |} | ||
Many EDOs have notes between the major 3rd and the perfect 4th, creating triads impossible in 12-edo, such as: | Many EDOs have notes between the major 3rd and the perfect 4th, creating triads impossible in 12-edo, such as: | ||
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C vE G vBb = Cv7 = "C down seven" | C vE G vBb = Cv7 = "C down seven" | ||
All 7th chords follow this same pattern. Likewise, if a 6th is not a P4 or A4 above the 3rd, it's an "add-6" chord. Permitting add-7 chords has the added benefit that the wordy "minor-7 flat-5" can be replaced with the more concise "dim add-7", written Co,7. "Half-dim" can still be used, e.g. C uphalf-dim is C ^Eb Gb ^Bb. But half-dim is problematic because the slash-circle abbreviation for half-dim is hard to type. | All 7th chords follow this same pattern. Likewise, if a 6th is not a P4 or A4 above the 3rd, it's an "add-6" chord. Permitting add-7 chords has the added benefit that the wordy "minor-7 flat-5" can be replaced with the more concise "dim add-7", written Co,7. "Half-dim" can still be used, e.g. C uphalf-dim is C ^Eb Gb ^Bb. But half-dim is problematic because the slash-circle abbreviation for half-dim is hard to type. | ||
In the table below, if a chord is '''bolded''', the comma must be spoken as "add". | In the table below, if a chord is '''bolded''', the comma must be spoken as "add". | ||