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Mason Green's New Common Practice Notation: Difference between revisions

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This is Mason Green's proposed notation for chord progressions in scales related to:
This is Mason Green's proposed notation for chord progressions in scales related to:


<ul><li>[[19-edo]] itself (in which the octave is just but the fifth significantly flat).</li><li>[[Carlos_Beta|Carlos Beta]] (in which the just perfect fifth is divided into 11 equal parts, making the octave about 12 cents sharp.</li><li>[[Phoenix|Phoenix]] (a compromise between the two in which the just 9:5 interval is divided into 16 equal parts. Thus the octaves and the fifths are both flat but less so than in Carlos beta and 19edo respectively. The octave here is about 9 cents sharp).</li></ul>
* [[19-edo]] itself (in which the octave is just but the fifth significantly flat).
* [[Carlos Beta]] (in which the just perfect fifth is divided into 11 equal parts, making the octave about 12 cents sharp.
* [[Phoenix]] (a compromise between the two in which the just 9:5 interval is divided into 16 equal parts. Thus the octaves and the fifths are both flat but less so than in Carlos beta and 19edo respectively. The octave here is about 9 cents sharp).


This notation is referred to as "New Common Practice" (NCP), in that it extends the Roman numeral analysis used for common practice to a 19-tone system.  It should not be confused with standard Roman Numeral notation, which can also apply to 19-EDO and other tuning methods as well.
This notation is referred to as "New Common Practice" (NCP), in that it extends the Roman numeral analysis used for common practice to a 19-tone system.  It should not be confused with standard Roman Numeral notation, which can also apply to 19-EDO and other tuning methods as well.
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{| class="wikitable"
{| class="wikitable"
|-
|-
| | Number of steps
! Number of steps
| | Interval name
! Interval name
| | Approximation
! Approximation
| | Scale degree name
! Scale degree name
| | Scale degree symbol
! Scale degree symbol
| | Scale degree Roman numeral
! Scale degree Roman numeral
|-
|-
| | 0
| 0
| | Unison
| Unison
| | 1:1
| 1:1
| | Tonic
| Tonic
| | 1
| 1
| | I
| I
|-
|-
| | 1
| 1
| | Augmented unison
| Augmented unison
| | <span style="background-color: #ffffff;">25/24, 21/20, 28/27, 26/25, 27/26</span>
| 25/24, 21/20, 28/27, 26/25, 27/26
| | Upper bleeding tone
| Upper bleeding tone
| | 1#
| 1#
| | <span style="vertical-align: super;">I#</span>
| <sup>I#</sup>
|-
|-
| | 2
| 2
| | Minor second
| Minor second
| | <span style="background-color: #ffffff;">15/14, 16/15, 13/12, 14/13</span>
| 15/14, 16/15, 13/12, 14/13
| | Upper leading tone
| Upper leading tone
| | 2<span style="background-color: #ffffff; color: #252525; font-family: 'Arial Unicode MS','Lucida Sans Unicode'; font-size: 14px;">♭</span>
| 2<span style="color: #252525; font-family: 'Arial Unicode MS','Lucida Sans Unicode'; font-size: 14px;">♭</span>
| | II<span style="background-color: #ffffff; color: #252525; font-family: 'Arial Unicode MS','Lucida Sans Unicode'; font-size: 14px;">♭</span>
| II<span style="color: #252525; font-family: 'Arial Unicode MS','Lucida Sans Unicode'; font-size: 14px;">♭</span>
|-
|-
| | 3
| 3
| | Major second
| Major second
| | <span style="background-color: #ffffff;">9/8, 10/9</span>
| 9/8, 10/9
| | Supertonic
| Supertonic
| | 2
| 2
| | II
| II
|-
|-
| | 4
| 4
| | Supermajor second; subminor third
| Supermajor second; subminor third
| | <span style="background-color: #ffffff;">7/6, 8/7, 15/13</span>
| 7/6, 8/7, 15/13
| | Caesiant
| Caesiant
| | 2# ; 3<span style="background-color: #ffffff; color: #252525; font-family: 'Arial Unicode MS','Lucida Sans Unicode'; font-size: 14px;">♭</span>
| 2# ; 3<span style="color: #252525; font-family: 'Arial Unicode MS','Lucida Sans Unicode'; font-size: 14px;">♭</span>
| | II# , III<span style="background-color: #ffffff; color: #252525; font-family: 'Arial Unicode MS','Lucida Sans Unicode'; font-size: 14px;">♭</span>
| II# , III<span style="color: #252525; font-family: 'Arial Unicode MS','Lucida Sans Unicode'; font-size: 14px;">♭</span>
|-
|-
| | 5
| 5
| | Minor third
| Minor third
| | <span style="background-color: #ffffff;">6/5, 25/21</span>
| 6/5, 25/21
| | Minor mediant
| Minor mediant
| | <u>3</u>
| <u>3</u>
| | <u>III</u>
| <u>III</u>
|-
|-
| | 6
| 6
| | Major third
| Major third
| | <span style="background-color: #ffffff;">5/4, 16/13, 26/21</span>
| 5/4, 16/13, 26/21
| | Major mediant
| Major mediant
| | <span style="text-decoration: overline;">3</span>
| <span style="text-decoration: overline;">3</span>
| | <span style="text-decoration: overline;">III</span>
| <span style="text-decoration: overline;">III</span>
|-
|-
| | 7
| 7
| | Supermajor third, subfourth
| Supermajor third, subfourth
| | <span style="background-color: #ffffff;">32/25, 9/7, 13/10</span>
| 32/25, 9/7, 13/10
| | Rubric
| Rubric
| | 3# , 4<span style="background-color: #ffffff; color: #252525; font-family: 'Arial Unicode MS','Lucida Sans Unicode'; font-size: 14px;">♭</span>
| 3# , 4<span style="color: #252525; font-family: 'Arial Unicode MS','Lucida Sans Unicode'; font-size: 14px;">♭</span>
| | III# , IV<span style="background-color: #ffffff; color: #252525; font-family: 'Arial Unicode MS','Lucida Sans Unicode'; font-size: 14px;">♭</span>
| III# , IV<span style="color: #252525; font-family: 'Arial Unicode MS','Lucida Sans Unicode'; font-size: 14px;">♭</span>
|-
|-
| | 8
| 8
| | Perfect fourth
| Perfect fourth
| | <span style="background-color: #ffffff;">4/3</span>
| 4/3
| | Subdominant
| Subdominant
| | 4
| 4
| | IV
| IV
|-
|-
| | 9
| 9
| | Augmented fourth
| Augmented fourth
| | <span style="background-color: #ffffff;">25/18, 7/5, 18/13</span>
| 25/18, 7/5, 18/13
| | Hygrant
| Hygrant
| | 4#
| 4#
| | IV#
| IV#
|-
|-
| | 10
| 10
| | Diminished fifth
| Diminished fifth
| | <span style="background-color: #ffffff;">36/25, 10/7, 13/9</span>
| 36/25, 10/7, 13/9
| | Subhygrant
| Subhygrant
| | 5<span style="background-color: #ffffff; color: #252525; font-family: 'Arial Unicode MS','Lucida Sans Unicode'; font-size: 14px;">♭</span>
| 5<span style="color: #252525; font-family: 'Arial Unicode MS','Lucida Sans Unicode'; font-size: 14px;">♭</span>
| | V<span style="background-color: #ffffff; color: #252525; font-family: 'Arial Unicode MS','Lucida Sans Unicode'; font-size: 14px;">♭</span>
| V<span style="color: #252525; font-family: 'Arial Unicode MS','Lucida Sans Unicode'; font-size: 14px;">♭</span>
|-
|-
| | 11
| 11
| | Perfect fifth
| Perfect fifth
| | 3/2
| 3/2
| | Dominant
| Dominant
| | 5
| 5
| | V
| V
|-
|-
| | 12
| 12
| | Augmented fifth, subminor sixth
| Augmented fifth, subminor sixth
| | <span style="background-color: #ffffff;">25/16, 14/9, 20/13</span>
| 25/16, 14/9, 20/13
| | Subrubric
| Subrubric
| | 5#, 6<span style="background-color: #ffffff; color: #252525; font-family: 'Arial Unicode MS','Lucida Sans Unicode'; font-size: 14px;">♭</span>
| 5#, 6<span style="color: #252525; font-family: 'Arial Unicode MS','Lucida Sans Unicode'; font-size: 14px;">♭</span>
| | V#, VI<span style="background-color: #ffffff; color: #252525; font-family: 'Arial Unicode MS','Lucida Sans Unicode'; font-size: 14px;">♭</span>
| V#, VI<span style="color: #252525; font-family: 'Arial Unicode MS','Lucida Sans Unicode'; font-size: 14px;">♭</span>
|-
|-
| | 13
| 13
| | Minor sixth
| Minor sixth
| | <span style="background-color: #ffffff;">8/5, 13/8, 21/13</span>
| 8/5, 13/8, 21/13
| | Minor submediant
| Minor submediant
| | <u>6</u>
| <u>6</u>
| | <u>VI</u>
| <u>VI</u>
|-
|-
| | 14
| 14
| | Major sixth
| Major sixth
| | <span style="background-color: #ffffff;">5/3</span>
| 5/3
| | Major submediant
| Major submediant
| | <span style="text-decoration: overline;">6</span>
| <span style="text-decoration: overline;">6</span>
| | <span style="text-decoration: overline;">VI</span>
| <span style="text-decoration: overline;">VI</span>
|-
|-
| | 15
| 15
| | Supermajor sixth, subminor seventh, harmonic seventh
| Supermajor sixth, subminor seventh, harmonic seventh
| | <span style="background-color: #ffffff;">7/4, 12/7, 26/15</span>
| 7/4, 12/7, 26/15
| | Subcaesiant
| Subcaesiant
| | 6#
| 6#
| | VI#
| VI#
|-
|-
| | 16
| 16
| | Minor seventh
| Minor seventh
| | <span style="background-color: #ffffff;">9/5, 16/9</span>
| 9/5, 16/9
| | Subtonic
| Subtonic
| | 7<span style="background-color: #ffffff; color: #252525; font-family: 'Arial Unicode MS','Lucida Sans Unicode'; font-size: 14px;">♭</span>
| 7<span style="color: #252525; font-family: 'Arial Unicode MS','Lucida Sans Unicode'; font-size: 14px;">♭</span>
| | VII<span style="background-color: #ffffff; color: #252525; font-family: 'Arial Unicode MS','Lucida Sans Unicode'; font-size: 14px;">♭</span>
| VII<span style="color: #252525; font-family: 'Arial Unicode MS','Lucida Sans Unicode'; font-size: 14px;">♭</span>
|-
|-
| | 17
| 17
| | Major seventh
| Major seventh
| | <span style="background-color: #ffffff;">15/8, 13/7, 28/15, 24/13</span>
| 15/8, 13/7, 28/15, 24/13
| | Lower leading tone
| Lower leading tone
| | 7
| 7
| | VII
| VII
|-
|-
| | 18
| 18
| | Diminished octave
| Diminished octave
| | <span style="background-color: #ffffff;">27/14, 25/13</span>
| 27/14, 25/13
| | Lower bleeding tone
| Lower bleeding tone
| | 1<span style="background-color: #ffffff; color: #252525; font-family: 'Arial Unicode MS','Lucida Sans Unicode'; font-size: 14px;">♭</span>
| 1<span style="color: #252525; font-family: 'Arial Unicode MS','Lucida Sans Unicode'; font-size: 14px;">♭</span>
| | <span style="background-color: #ffffff;">I</span><span style="background-color: #ffffff; color: #252525; font-family: 'Arial Unicode MS','Lucida Sans Unicode'; font-size: 14px;">♭</span>
| I<span style="color: #252525; font-family: 'Arial Unicode MS','Lucida Sans Unicode'; font-size: 14px;">♭</span>
|}
|}


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{| class="wikitable"
{| class="wikitable"
|-
|-
| | Symbol
! Symbol
| | Name
! Name
| | Just approximation
! Just approximation
|-
|-
| | I<span style="vertical-align: sub;">(ae)</span>
| I<sub>(ae)</sub>
| | Major pentad
| Major pentad
| | Otonal 4:5:6:7:8
| Otonal 4:5:6:7:8
|-
|-
| | i<span style="vertical-align: sub;">(ae)</span>
| i<sub>(ae)</sub>
| | Minor pentad
| Minor pentad
| | Utonal 4:5:6:7:8
| Utonal 4:5:6:7:8
|-
|-
| | I<span style="vertical-align: sub;">(ch)</span>
| I<sub>(ch)</sub>
| | Major hexad
| Major hexad
| | Otonal 6:7:8:9:10:12
| Otonal 6:7:8:9:10:12
|-
|-
| | i<span style="vertical-align: sub;">(ch)</span>
| i<sub>(ch)</sub>
| | Minor hexad
| Minor hexad
| | Otonal 6:7:8:9:10:12
| Otonal 6:7:8:9:10:12
|}
|}


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<span style="font-family: Arial,Helvetica,sans-serif;">Porting the following progressions is trivial:</span>
<span style="font-family: Arial,Helvetica,sans-serif;">Porting the following progressions is trivial:</span>


<ul><li>All progressions using only I, IV, and V.</li><li>The circle progression (<span style="text-decoration: overline;">vi</span> - ii- V - I).</li></ul>
* All progressions using only I, IV, and V.
* The circle progression (<span style="text-decoration: overline;">vi</span> - ii- V - I).
* The 50s progression (I – <span style="text-decoration: overline;">vi</span> - IV - V)
* "Axis of Awesome" (I - V - <span style="text-decoration: overline;">vi </span>- IV).
* Pachelbel's Canon (I - V - <span style="text-decoration: overline;">vi </span>- <span style="text-decoration: overline;">iii </span>- IV - I - IV - V)


<ul><li>The 50s progression (I – <span style="text-decoration: overline;">vi</span> - IV - V)</li><li>"Axis of Awesome" (I - V - <span style="text-decoration: overline;">vi </span>- IV).</li><li>Pachelbel's Canon (I - V - <span style="text-decoration: overline;">vi </span>- <span style="text-decoration: overline;">iii </span>- IV - I - IV - V)</li></ul>
There are also many new possibilities that don't have any close analogues in 12edo. In general, enneadecimal scales offer more flexibility as well as orders of magnitude more possibilities for chord progressions, due to the greater diversity of both chords and scale degrees.


There are also many new possibilities that don't have any close analogues in 12edo. In general, enneadecimal scales offer more flexibility as well as orders of magnitude more possibilities for chord progressions, due to the greater diversity of both chords and scale degrees.
[[Category:19edo]]
[[Category:19edo]]
[[Category:beta]]
[[Category:beta]]
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