Kite's ups and downs notation: Difference between revisions

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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")

This table shows how altering the 3rd or the 5th affects the name of the triad:

This table shows how altering the 3rd or the 5th affects the name of the triad (+ and o are conventional abbreviations for aug and dim).

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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" could 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. Also, in many edos "half-diminished" can refer to lowering by half a sharp.

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". In non-bolded names, the comma can be omitted when writing the chord, although that might make the chord name less readable.

~~''Question: for all tetrads and pentads~~, ~~should a~~ comma ~~that needn't be spoken as "add"~~ be omitted ~~from~~ the ~~written~~ name~~?''~~

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@@ Line 201: / Line 201: @@
 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:
+This table shows how altering the 3rd or the 5th affects the name of the triad (+ and o are conventional abbreviations for aug and dim).
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 |+
@@ Line 284: / Line 284: @@
 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" could 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. Also, in many edos "half-diminished" can refer to lowering by half a sharp.
-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". In non-bolded names, the comma can be omitted when writing the chord, although that might make the chord name less readable.
-''Question: for all tetrads and pentads, should a comma that needn't be spoken as "add" be omitted from the written name?''
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 |+