19edo chords
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 enharmonic equivalence works 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 | Notes | Steps | Cents | Audio |
|---|---|---|---|---|---|
| Major | C | C–E–G | 0–6–11 | 0–379–695 | |
| Minor | Cm, Cmin | C–E♭–G | 0–5–11 | 0–316–695 | |
| Supermajor, Major sharp 3 |
Csmaj, C(♯3), Cmaj(♯3) | C–E#–G | 0–7–11 | 0–442–695 | |
| Subminor, Minor flat 3 |
Csmin, Cmin(♭3) | C–E𝄫–G | 0–4–11 | 0–253–695 | |
| Sus4 | Csus4 | C–F–G | 0–8–11 | 0–505–695 | |
| Sus2 | Csus2 | C–D–G | 0–3–11 | 0–189–695 | |
| Diminished | Cdim, C° | C–E♭–G♭ | 0–5–10 | 0–316–632 | |
| Augmented | Caug, C+ | C–E–G♯ | 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 | Notes | Steps | Cents | Audio |
|---|---|---|---|---|---|
| Major seventh | Cmaj7 | C–E–G–B | 0–6–11–17 | 0–379–695–1074 | |
| Dominant seventh | C7 | C–E–G–B♭ | 0–6–11–16 | 0–379–695–1011 | |
| Harmonic seventh | Ch7 | C–E–G–B𝄫 | 0–6–11–15 | 0–379–695–947 | |
| Sixth | C6 | C–E–G–A | 0–6–11–14 | 0–379–695–884 |
Minor chords
| Chord name | Symbol | Steps | Cents | Audio |
|---|---|---|---|---|
| Minor seventh | Cm7 | 0-5-11-16 | 0-316-695-1011 | |
| Minor major seventh | Cmmaj7 | 0-5-11-17 | 0-316-695-1074 | |
| Minor augmented six | Cm+6 | 0-5-11-15 | 0-316-695-947 | |
| Minor six | Cm6 | 0-5-11-14 | 0-316-695-884 | |
| Minor seven flat six (NT aeolian seven) | Cm7(♭6) [Faeol7] | 0-5-13-16 | 0-316-821-1011 |
Supermajor chords
| Chord name | Symbol | Steps | Cents | Audio |
|---|---|---|---|---|
| Supermajor seventh | Csmaj7, Cmaj7(♯3, ♯7) | 0-7-11-18 | 0-442-695-1137 |
Subminor chords
| Chord name | Symbol | Steps | Cents | Audio |
|---|---|---|---|---|
| Subminor seventh | Csmin7, Cmin7(♭3, ♭7) | 0-4-11-15 | 0-253-695-947 |
Diminished chords
| Chord name | Symbol | Steps | Cents | Audio |
|---|---|---|---|---|
| Diminished seven (fully diminished) |
Cdim7, C°7 | 0-5-10-15 | 0-316-632-947 | |
| Minor seven flat five (half-diminished) |
Cm7(♭5), Cø7 | 0-5-10-16 | 0-316-632-1011 |
Augmented chords
| Chord name | Symbol | Steps | Cents | Audio |
|---|---|---|---|---|
| Augmented seven | Caug7, C+7, C7♯5 | 0-6-12-16 | 0-379-758-1011 | |
| Major seven sharp five | Cmaj7♯5 | 0-6-12-18 | 0-379-758-1137 |
Pentads (ninth chords)
Major chords
Major chords
| Chord name | Symbol | Steps | Cents | Audio |
|---|---|---|---|---|
| Major ninth | Cmaj9 | 0-6-11-17-22 | 0-379-695-1074-1389 | |
| Dominant ninth | C9 | 0-6-11-16-22 | 0-379-695-1011-1389 | |
| Dominant seven flat nine | C7(♭9) | 0-6-11-16-21 | 0-379-695-1011-1326 | |
| Harmonic ninth | Ch9 | 0-6-11-15-22 | 0-379-695-947-1389 | |
| Harmonic seven flat nine | Ch7(♭9) | 0-6-11-15-21 | 0-379-695-947-1326 |
Ups and downs notation
Various 19edo triads, 6th and 7th chords, named via ups and downs. Not meant to be exhaustive, but this list does demonstrate the basic rules for naming. The aug 6th and the dim 7th are the same interval, and chords that use that interval can be named as either a 6th chord or a 7th chord.
| d3 | m3 | M3 | A3 | P4 | |
|---|---|---|---|---|---|
| triad | C(d3) | Cm | C | C(A3) | C4 |
| M6 | C6(d3) | Cm6 | C6 | C6(A3) | C4,6 |
| A6
d7 |
C(d3)A6
C(d3)d7 |
CmA6
Cmd7 |
C,A6
C,d7 |
C(A3)A6
C(A3)d7 |
C4A6
C4d7 |
| m7 | C7(d3) | Cm7 | C7 | C7(A3) | C4,7 |
| M7 | CM7(d3) | CmM7 | CM7 | CM7(A3) | C4M7 |
| A7 | CA7(d3) | CmA7 | C,A7 | C(A3)A7 | C4A7 |
A comma (the actual punctuation mark ",") is spoken as "add", thus C,v7 is "C add-down-seven". The only exception is when a comma separates two numbers, as in C4,7 which is "C four-seven". A comma is written, and "add" is spoken, whenever not doing so would cause confusion with another chord.
4:5:6:7 = C E G vBb is named C add-dim7. To get a shorter name for this important chord, one could call it a harmonic7 chord, or one could borrow from color notation to call it a har7 chord, written Ch7. Names for subharmonic chords can be similarly shortened.
| chord | notes | ups and downs name | color name | ||
|---|---|---|---|---|---|
| 4:5:6:7 | C E G Bbb | C add-dim-7 | C,d7 | C har7 | Ch7 |
| 7/6/5/4 | C Ebb Gbb Bbb | C dim-3 dim-7 double-dim5 | C(d3)d7(dd5) | C sub7 | Cs7 |
| 12/10/8/7 | C Eb G A# | C minor aug-6 | CmA6 | C sub6 | Cs6 |