19edo chords: Difference between revisions
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== Tetrads (sixth/seventh chords) == | == Tetrads (sixth/seventh chords) == | ||
Because of interesting new features – the supermajor seventh and "harmonic" seventh – new tetrads are possible while existing ones can be preserved. | Because of interesting new features – the supermajor seventh and "harmonic" seventh/augmented sixth – new tetrads are possible while existing ones can be preserved. | ||
=== Major chords === | === Major chords === | ||
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| Cmaj7 | | Cmaj7 | ||
| 0-6-11-17 | | 0-6-11-17 | ||
| 0-379-695-1074 | | [[Tel:0-379-695-1074|0-379-695-1074]] | ||
| [[File:Cmaj7 (19-EDO).mp3|frameless]] | | [[File:Cmaj7 (19-EDO).mp3|frameless]] | ||
|- | |- | ||
| Line 83: | Line 83: | ||
| C7 | | C7 | ||
| 0-6-11-16 | | 0-6-11-16 | ||
| 0-379-695-1011 | | [[Tel:0-379-695-1011|0-379-695-1011]] | ||
| [[File:C7 (19-EDO).mp3|frameless]] | | [[File:C7 (19-EDO).mp3|frameless]] | ||
|- | |- | ||
| Line 89: | Line 89: | ||
| Ch7 | | Ch7 | ||
| 0-6-11-15 | | 0-6-11-15 | ||
| 0-379-695-947 | | [[Tel:0-379-695-947|0-379-695-947]] | ||
| [[File:Ch7 (19-EDO).mp3|frameless]] | | [[File:Ch7 (19-EDO).mp3|frameless]] | ||
|- | |- | ||
| Line 95: | Line 95: | ||
| C6 | | C6 | ||
| 0-6-11-14 | | 0-6-11-14 | ||
| 0-379-695-884 | | [[Tel:0-379-695-884|0-379-695-884]] | ||
| [[File:C6 (19-EDO).mp3|frameless]] | | [[File:C6 (19-EDO).mp3|frameless]] | ||
|} | |} | ||
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| Cm7 | | Cm7 | ||
| 0-5-11-16 | | 0-5-11-16 | ||
| 0-316-695-1011 | | [[Tel:0-316-695-1011|0-316-695-1011]] | ||
| | | | ||
|- | |- | ||
| Line 116: | Line 116: | ||
| Cmmaj7 | | Cmmaj7 | ||
| 0-5-11-17 | | 0-5-11-17 | ||
| 0-316-695-1074 | | [[Tel:0-316-695-1074|0-316-695-1074]] | ||
| | |||
|- | |||
|Minor augmented six | |||
|Cm+6 | |||
|0-5-11-15 | |||
|0-316-695-947 | |||
| | | | ||
|- | |- | ||
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| Cm6 | | Cm6 | ||
| 0-5-11-14 | | 0-5-11-14 | ||
| 0-316-695-884 | | [[Tel:0-316-695-884|0-316-695-884]] | ||
| | | | ||
|- | |- | ||
| Line 128: | Line 134: | ||
| Cm7(b6) | | Cm7(b6) | ||
| 0-5-13-16 | | 0-5-13-16 | ||
| 0-316-821-1011 | | [[Tel:0-316-821-1011|0-316-821-1011]] | ||
| | | | ||
|} | |} | ||
| Line 143: | Line 149: | ||
| Csmaj7 | | Csmaj7 | ||
| 0-7-11-18 | | 0-7-11-18 | ||
| 0-379-695-1137 | | [[Tel:0-379-695-1137|0-379-695-1137]] | ||
| | | | ||
|} | |} | ||
| Line 158: | Line 164: | ||
| Csmin7 | | Csmin7 | ||
| 0-4-11-15 | | 0-4-11-15 | ||
| 0-253-695-947 | | [[Tel:0-253-695-947|0-253-695-947]] | ||
| | | | ||
|} | |} | ||
| Line 173: | Line 179: | ||
| Cdim7, C°7 | | Cdim7, C°7 | ||
| 0-5-10-15 | | 0-5-10-15 | ||
| 0-316-632-947 | | [[Tel:0-316-632-947|0-316-632-947]] | ||
| | | | ||
|- | |- | ||
| Line 179: | Line 185: | ||
| Cm7(b5), Cø7 | | Cm7(b5), Cø7 | ||
| 0-5-10-16 | | 0-5-10-16 | ||
| 0-316-632-1011 | | [[Tel:0-316-632-1011|0-316-632-1011]] | ||
| | | | ||
|} | |} | ||
| Line 194: | Line 200: | ||
| Caug7, C+7, C7#5 | | Caug7, C+7, C7#5 | ||
| 0-6-12-17 | | 0-6-12-17 | ||
| 0-379-758-1011 | | [[Tel:0-379-758-1011|0-379-758-1011]] | ||
| | | | ||
|- | |- | ||
| Line 200: | Line 206: | ||
| Cmaj7#5 | | Cmaj7#5 | ||
| 0-6-12-18 | | 0-6-12-18 | ||
| 0-379-758-1137 | | [[Tel:0-379-758-1137|0-379-758-1137]] | ||
| | | | ||
|} | |} | ||
Revision as of 18:12, 9 April 2022
In contrast to 12edo chords, 19edo has four instead of the usual two main tertian chord qualities which opens up completely new territory for eager musicians/microtonalists to explore.
19edo approximates intervals with factors of 2 (2/1), 3 (3/2), 5 (5/4, 5/3, 6/5) and 7 (7/6, 7/4, 27/14) quite well. This essentially means that normal chords – like in 12edo – can be represented nicely in 19edo.
Despite that enharmonics work differently in 19edo, pitches can be written down with standard notation.
Triads
Note that the cent values of the intervals are approximated. For detailed numbers, see 19edo.
| Chord name | Symbol | Steps | Cents | Audio |
|---|---|---|---|---|
| Major | C | 0-6-11 | 0-379-695 | |
| Minor | Cm, C- | 0-5-11 | 0-316-695 | |
| SuperMajor | Csmaj | 0-7-11 | 0-442-695 | |
| SubMinor | Csmin | 0-4-11 | 0-253-695 | |
| sus4 | Csus4 | 0-8-11 | 0-505-695 | |
| sus2 | Csus2 | 0-3-11 | 0-189-695 | |
| Diminished | Cdim, C° | 0-5-10 | 0-316-632 | |
| Augmented | Caug, C+ | 0-6-12 | 0-379-758 |
Tetrads (sixth/seventh chords)
Because of interesting new features – the supermajor seventh and "harmonic" seventh/augmented sixth – new tetrads are possible while existing ones can be preserved.
Major chords
| Chord name | Symbol | Steps | Cents | Audio |
|---|---|---|---|---|
| Major seventh | Cmaj7 | 0-6-11-17 | [[1]] | |
| Dominant seventh | C7 | 0-6-11-16 | [[2]] | |
| Harmonic seventh | Ch7 | 0-6-11-15 | [[3]] | |
| Sixth | C6 | 0-6-11-14 | [[4]] |
Minor chords
| Chord name | Symbol | Steps | Cents | Audio |
|---|---|---|---|---|
| Minor seventh | Cm7 | 0-5-11-16 | [[5]] | |
| Minor major seventh | Cmmaj7 | 0-5-11-17 | [[6]] | |
| Minor augmented six | Cm+6 | 0-5-11-15 | 0-316-695-947 | |
| Minor six | Cm6 | 0-5-11-14 | [[7]] | |
| Minor seven flat six | Cm7(b6) | 0-5-13-16 | [[8]] |
Supermajor chords
| Chord name | Symbol | Steps | Cents | Audio |
|---|---|---|---|---|
| Supermajor seventh | Csmaj7 | 0-7-11-18 | [[9]] |
Subminor chords
| Chord name | Symbol | Steps | Cents | Audio |
|---|---|---|---|---|
| Subminor seventh | Csmin7 | 0-4-11-15 | [[10]] |
Diminished chords
| Chord name | Symbol | Steps | Cents | Audio |
|---|---|---|---|---|
| Diminished seven (fully diminished) |
Cdim7, C°7 | 0-5-10-15 | [[11]] | |
| Minor seven flat five (half-diminished) |
Cm7(b5), Cø7 | 0-5-10-16 | [[12]] |
Augmented chords
| Chord name | Symbol | Steps | Cents | Audio |
|---|---|---|---|---|
| Augmented seven | Caug7, C+7, C7#5 | 0-6-12-17 | [[13]] | |
| Major seven sharp five | Cmaj7#5 | 0-6-12-18 | [[14]] |