31edo chord names
Ups and downs notation
Various 31edo 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.
| added
note |
third | |||||||
|---|---|---|---|---|---|---|---|---|
| vm3 | m3 | ~3 | M3 | ^M3 | v4 | P4 | ~4 | |
| (triad) | Cvm | Cm | C~ | C | C^ | Cv4 | C4 | C~4 |
| ~6 | Cvm~6 | Cm~6 | C~6 | C,~6 | C^,~6 | Cv4~6 | C4~6 | C~4~6 |
| M6 | Cvm,6 | Cm6 | C~,6 | C6 | C^,6 | Cv4,6 | C4,6 | C~4,6 |
| ^M6 | Cvm^6 | Cm^6 | C~^6 | C,^6 | C^6 | Cv4^6 | C4^6 | C~4^6 |
| vm7 | Cvm7 | Cmv7 | C~v7 | C,v7 | C^v7 | Cv4v7 | C4v7 | C~4v7 |
| m7 | Cvm,7 | Cm7 | C~,7 | C7 | C^,7 | Cv4,7 | C4,7 | C~4,7 |
| ~7 | Cvm~7 | Cm~7 | C~7 | C,~7 | C^,~7 | Cv4~7 | C4~7 | C~4~7 |
| M7 | CvmM7 | CmM7 | C~M7 | CM7 | C^,M7 | Cv4M7 | C4M7 | C~4M7 |
| ^M7 | Cvm^M7 | Cm^M7 | C~^M7 | C,^M7 | C^M7 | Cv4^M7 | C4^M7 | C~4^M7 |
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. C^,~6 is clear without a comma or an "add" if limiting oneself to 31edo. However, some edos like 58-edo have an upmid 3rd and 6th, and C^~6 would be P1 ^~3 P5 ^~6.
Note that 4:5:6:7 = C E G vBb is named C,v7 not Cv7 because Cv7 is an alternate name for C~v7. 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 vBb | C add-down-7 | C,v7 | C har7 | Ch7 |
| 7:6:5:4 | C vEb vGb vBb | C downminor7 downflat-5 | Cvm7(vb5) | C sub7 | Cs7 |
| 12:10:8:7 | C Eb G ^A | C minor up-6 | Cm^6 | C sub6 | Cs6 |
Extended jazz symbol set
No*ie proposes the following symbols:
| Chord quality | Symbol | Comments |
|---|---|---|
| Inframinor | I | The horizontal and vertical bars of the letter I may be drawn to scale with the subminor symbol for more visual consistency |
| Subminor | = | Akin to two parallel minus signs |
| Minor | − | |
| Neutral | ◻ | |
| Major | △ | |
| Supermajor | ▲ | |
| Ultramajor | U | The letter U may be drawn with horizontal and vertical bars for more visual consistency with other symbols |
| Harmonic seventh | H7 | |
| Diminished | ∘ | |
| Subdiminished / sin(bv5) | ● | |
| Half Diminished / m7(b5) | ∅ | |
| Half Subdiminished / sin7(bv5) | ⦰ | |
| Augmented | + | |
| Superaugmented / saj(#+5) | 王 (or *) | Akin to the plus sign with two extra lines |
These symbols can also be used with other tuning systems where these interval qualities are relevant.