Chord list

Thanks for the comments, all valid points.

>> 9:10:12:15 Seconds Chord "2"

>I don't understand this terminology. Where does it come from? A "2"
>chord is usually 8:9:10:12.

It's a just version of the same 12-tET chord below. It came from a
book, but I'd have to see at home if I can find it back.

>> (4:5:6:7) Harmonic Half-diminished Seventh, Subharmonic Seventh

>You mean 1/(4:5:6:7)?

Yes, it's a Scala abbreviation.

>Anyway, shouldn't your program check for
>inversions automatically?

I could think about adding that.

>"Seventh" normally means "Dominant Seventh" So you mean "Augmented
>Major Seventh"? Is "*" some sort of shorthand for "Major Seventh"?
>Where does it come from?

Yes, I don't recall at the moment where it came from. Probably from
one of the numerous webpages about chords.

>You have it above as 10:12:14:17 . . . it's OK to use the same name
>for different chords?

Yes, it's said at the top of the file.

>> 32:36:45:54 Double Diminished Seventh
>Where did this come from?

>> 49:56:64 Double Septimal Whole-Tone
>> 60:64:75:80 Tartini neochromatic
>Tell me more about that one.

These came from Fokker's book I think, I'd have to check
at home.

>Very confused . . . these names refer to tetrachords or something as
>well as the usual larger scales that they refer to?

Here they refer to "tetrachords" but the makams containing them often
carry the same name. Turkish music theory is full of potentially
confusing things.

>> !etc.
>Does that mean you omitted something here?

It's a reminder to myself that I consider adding more later.

Manuel

--- In tuning@y..., <manuel.op.de.coul@e...> wrote:
>
> Thanks for the comments, all valid points.
>
> >> 9:10:12:15 Seconds Chord "2"
>
> >I don't understand this terminology. Where does it come from? A "2"
> >chord is usually 8:9:10:12.
>
> It's a just version of the same 12-tET chord below.

Oh, it's the classical "2" meaning "third inversion seventh chord",
just like the classical "4/3" means "second inversion seventh chord".
So I have the same objection -- while this is a third inversion
_minor_ seventh chord, the classical "2" can refer to _any_ kind of
seventh chord in third inversion -- so this terminology should be
avoided.

> >> !etc.
> >Does that mean you omitted something here?
>
> It's a reminder to myself that I consider adding more later.

Yes . . . we'll get to it!

Paul wrote:
>Oh, it's the classical "2" meaning "third inversion seventh chord",
>just like the classical "4/3" means "second inversion seventh chord".

Yes, I got it from "Algemene muziekleer" by Sem Dresden.

>So I have the same objection -- while this is a third inversion
>_minor_ seventh chord, the classical "2" can refer to _any_ kind of
>seventh chord in third inversion -- so this terminology should be
>avoided.

Agreed.

The Tartini neochromatic came indeed from Fokker's Rekenkundige
Bespiegeling, page 103. In his Trattato di Musica he creates a
scale with two of them, E-A against A-D':
D E F G# A Bb C#' C'
160:180:192:225:240:256:300:320

By the way, I thought you quoted the 53-tone tetrachords, but
those 24-tone chords are Arabian, not Turkish.

Manuel