User:Vector/Vector's chord names - Revision history

Vector at 04:02, 25 January 2026

2026-01-25T04:02:42Z

← Older revision		Revision as of 04:02, 25 January 2026
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	!Symbol		!Symbol
	!Function		!Function
			!Notes
	\|-		\|-
	\| - (hyphen-minus)		\| - (hyphen-minus)
	\|Removal indicator		\|Removal indicator
			\|
	\|-		\|-
	\| + (plus)		\| + (plus)
	\|Addition indicator		\|Addition indicator
			\|
	\|-		\|-
	\|, (comma)		\|, (comma)
	\|Top note of tertian chain indicator		\|Top note of tertian chain indicator
			\|Using commas to separate chord names is unambiguous.
	\|-		\|-
	\|~ (tilde)		\|~ (tilde)
	\|Reduced chord name indicator		\|Reduced chord name indicator
			\|
	\|}		\|}
	This system uses spaces as an important syntactic element, use a . (period) or _ (underscore) when this is unviable.		This system uses spaces as an important syntactic element, use a . (period) or _ (underscore) when this is unviable.

Vector at 03:58, 25 January 2026

2026-01-25T03:58:43Z

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	\|P1 - P4 - P5		\|P1 - P4 - P5
	\| -4		\| -4
			\|-
			\|quartal chord
			\|P1 - P4 - m7
			\| +4m7
	\|}		\|}

Vector at 03:58, 25 January 2026

2026-01-25T03:58:14Z

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	- it is prefixed by a "+"		- it is prefixed by a "+"

	Otherwise, it is an alteration. The first "+" in a chord name unambiguously signals that the chain of thirds section of the name does not continue to that point. So, C M+m9 is a tetrad, not a pentad, meanwhile "C M+m3" is a chord with both a major and a minor third and "C Mm3" is just a minor triad (but notated as if the minor third is replacing a default major third).		Otherwise, it is an alteration. The first "+" in a chord name unambiguously signals that the chain of thirds section of the name does not continue to that point (and if a chord name begins with a "+" after the note, then there is no chain of thirds). So, C M+m9 is a tetrad, not a pentad, meanwhile "C M+m3" is a chord with both a major and a minor third and "C Mm3" is just a minor triad (but notated as if the minor third is replacing a default major third).

	Specifying "3" is not necessary in the main interval chain or in removals, but it is always necessary in additions and alterations. Removals always lack a quality, so "-M7" is always the removal of the 3rd followed by the addition of a major seventh, not the removal of a major seventh. Additionally, -5 is always the removal of the perfect fifth, while -P5 is always the removal of the third followed by the alteration of the chord's fifth to the perfect fifth, or the addition of a perfect fifth to the chord.		Specifying "3" is not necessary in the main interval chain or in removals, but it is always necessary in additions and alterations. Removals always lack a quality, so "-M7" is always the removal of the 3rd followed by the addition of a major seventh, not the removal of a major seventh. Additionally, -5 is always the removal of the perfect fifth, while -P5 is always the removal of the third followed by the alteration of the chord's fifth to the perfect fifth, or the addition of a perfect fifth to the chord.

Vector at 03:47, 25 January 2026

2026-01-25T03:47:02Z

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	=== Notes ===		=== Notes ===
	"C d7" is taken to mean a chord that diminishes all intervals and stacks thirds up to the seventh (so C Ebb Gb Bbb). A chord that diminishes only the seventh should be C Md7 or C md7, depending on the quality of your third. The standard diminished seventh chord is C d7m3 or C m3d5,7.		"C d7" is taken to mean a chord that diminishes all intervals (including the third, so it has a diminished third) and stacks thirds up to the seventh (so C Ebb Gb Bbb). A chord that diminishes only the seventh should be C Md7 or C md7, depending on the quality of your third. The standard diminished seventh chord is C d7m3 or C m3d5,7.
	This system works with essentially any system of qualities, but for clarity multi-symbol qualities (i.e. "AA" for double-augmented, "sA" for semiaugmented, or even interval-size-based ones like "sM" for submajor) should be enclosed in parentheses.		This system works with essentially any system of qualities, but for clarity multi-symbol qualities (i.e. "AA" for double-augmented, "sA" for semiaugmented, or even interval-size-based ones like "sM" for submajor) should be enclosed in parentheses.

Vector at 04:17, 17 January 2026

2026-01-17T04:17:08Z

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	(This introduces a potential incompatibility with the "mid" symbol used by Kite's ups and downs notation, which is also a ~. N for neutral is preferred in this instance, and this use of a tilde cannot be mistaken for a tempered interval as diatonic scale degrees are already inherently tempered.)		(This introduces a potential incompatibility with the "mid" symbol used by Kite's ups and downs notation, which is also a ~. N for neutral is preferred in this instance, and this use of a tilde cannot be mistaken for a tempered interval as diatonic scale degrees are already inherently tempered.)

			== Microtonal peculiarities ==
			To generalize to any moment-of-symmetry scale in KISS notation, the scale degree to be used for the chain can be explicitly specified along with the MOS. Otherwise, consider the two generators within one period of the scale. If one of them is divisible into two parts that belong to the same interval category (for instance, a fifth divisible into two thirds, regardless of their quality), make that divided interval the base of the chain, so that the generator is found as the top note of a default triad. Otherwise, use the generator (that is less than half the period) itself. Ordinals are defined relative to the MOS in question, and reduced chord names generalize in the logical manner.

			The application of subchromas to interval qualities cascades in the standard manner, but "skips" perfect intervals unless explicitly specified (in the chain or in alterations) to apply to them. This is to make notating, for instance, a pental major triad simple ((vM)); a wolf major triad is (vM)(vP)5.

Vector at 03:59, 17 January 2026

2026-01-17T03:59:09Z

@@ Line 5: / Line 5: @@
 * Avoid the use of accidentals wherever possible
 * Do not place numbers directly after the note name (make chord quality always explicit)
 == Basic structure ==

Vector at 03:54, 17 January 2026

2026-01-17T03:54:15Z

← Older revision		Revision as of 03:54, 17 January 2026
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	\| -4		\| -4
	\|}		\|}

			=== Inversions ===
			{\| class="wikitable"
			\|+
			!Name
			!Notes
			!
			\|-
			\|major
			\|P1 - M3 - P5
			\|M
			\|-
			\|major 1st inversion
			\|P1 - m3 - m6
			\|m-5m6
			\|-
			\|major 2nd inversion
			\|P1 - P4 - M6
			\| --5+4M6
			\|}

			== Reduced chord names ==
			Inversions are somewhat awkward to notate and change the apparent root of the chord (as per the chart above), but there is an inversion-agnostic way to write chords.

			A tilde can be placed before the chord name and after the note name to specify that it is a reduced chord name, where the notes are octave-equivalent pitch classes. The chain of thirds works normally but the highest note that can be reached by it is 13 (equivalent to 6), meanwhile additions and alterations can only use 1 through 7. (2 is considered an alteration of a 9 if it exists in the chain by default, however, so ~m9M2 is considered to be altering the minor 2nd represented by the 9th in the third chain to a major 2nd. A major add9 chord is ~MM2.)

			(This introduces a potential incompatibility with the "mid" symbol used by Kite's ups and downs notation, which is also a ~. N for neutral is preferred in this instance, and this use of a tilde cannot be mistaken for a tempered interval as diatonic scale degrees are already inherently tempered.)

Vector at 03:21, 17 January 2026

2026-01-17T03:21:25Z

← Older revision		Revision as of 03:21, 17 January 2026
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	"C d7" is taken to mean a chord that diminishes all intervals and stacks thirds up to the seventh (so C Ebb Gb Bbb). A chord that diminishes only the seventh should be C Md7 or C md7, depending on the quality of your third. The standard diminished seventh chord is C d7m3 or C m3d5,7.		"C d7" is taken to mean a chord that diminishes all intervals and stacks thirds up to the seventh (so C Ebb Gb Bbb). A chord that diminishes only the seventh should be C Md7 or C md7, depending on the quality of your third. The standard diminished seventh chord is C d7m3 or C m3d5,7.
	This system works with essentially any system of qualities, but for clarity multi-symbol qualities (i.e. "AA" for double-augmented, "sA" for semiaugmented, or even interval-size-based ones like "sM" for submajor) should be enclosed in parentheses.		This system works with essentially any system of qualities, but for clarity multi-symbol qualities (i.e. "AA" for double-augmented, "sA" for semiaugmented, or even interval-size-based ones like "sM" for submajor) should be enclosed in parentheses.

			== Standard chords ==
			{\| class="wikitable"
			\|+
			!Name
			!Notes
			!VCN
			\|-
			\|major triad
			\|P1 - M3 - P5
			\|M
			\|-
			\|minor triad
			\|P1 - m3 - P5
			\|m
			\|-
			\|augmented triad
			\|P1 - M3 - A5
			\|MA5
			\|-
			\|diminished triad
			\|P1 - m3 - d5
			\|md5
			\|-
			\|augmented 7th chord
			\|P1 - M3 - A5 - m7
			\|MA5m7
			\|-
			\|diminished 7th chord
			\|P1 - m3 - d5 - d7
			\|d7m3
			\|-
			\|half diminished 7th chord
			\|P1 - m3 - d5 - m7
			\|m7d5
			\|-
			\|major 7th chord
			\|P1 - M3 - P5 - M7
			\|M7
			\|-
			\|minor 7th chord
			\|P1 - m3 - P5 - m7
			\|m7
			\|-
			\|dominant 7th chord
			\|P1 - M3 - P5 - m7
			\|Mm7
			\|-
			\|minor major 7th chord
			\|P1 - m3 - P5 - M7
			\|mM7
			\|-
			\|sus2 chord
			\|P1 - M2 - P5
			\| -M2
			\|-
			\|sus4 chord
			\|P1 - P4 - P5
			\| -4
			\|}

Vector at 03:16, 17 January 2026

2026-01-17T03:16:11Z

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	all interval qualities "cascade" to any following intervals until another quality is specified. (Major and minor fifths and fourths both evaluate to perfect, and if "perfect" is specified then it does not cascade and major or minor must be specified for following intervals. Note that perfect is assumed for fourths and fifths and does not need to be explicitly specified unless it is the first character of the chord name after the note or degree name - that is, C11 should be CP11, in order to avoid A11 being ambiguous between "A perfect 11" and "augmented 11") Then, the final note in the chain of thirds (if not already specified), then any additions and alterations (which are always specified with interval qualities, not accidentals, and can always be recognized by the breaking of the chain of thirds. By default, alterations or additions that specify a scale degree that already exists in the chord are alterations, and this is where we bring the "+" symbol back which can be used to clarify that it's an addition. (as in, Cmd5 is C - E - Gb, while Cm+d5 is C - E - Gb - G.) (Note that default additions cannot be validly read as alterations.) Chords are always assumed to be triads by default. Degrees can be omitted by using the "-" symbol: CMm7-5 is a C dominant 7th chord without a 5th (so C - E - Bb). - can be treated like an interval quality, with the caveat that it only applies to a single degree and does not "cascade". So, "C-" just means a C chord without a 3rd, not without both a 3rd and a 5th. "C--5" would be a C chord without a third or fifth, aka just a single C note lol. Otherwise, specifying a degree without a quality is invalid (so "C" would be an invalid chord name, it has to be "CM"). Note that the very first specification is assumed to apply to the third, and to cascade to other intervals unless it's a "-", so a "3" isn't necessary (and should be avoided unless replacing the third like in a Cd7m3 chord). "Cd7" is taken to mean a chord that diminishes all intervals and stacks thirds up to the seventh (so C Ebb Gb Bbb). A chord that diminishes only the seventh should be CMd7 or Cmd7, depending on the quality of your third.		Goals:

			* Make chord names entirely systematic and derivable from their intervals (no shorthands like Δ, + for augmented, or °)
			* Support any interval quality system
			* Avoid the use of accidentals wherever possible
			* Do not place numbers directly after the note name (make chord quality always explicit)

	This system works with essentially any system of qualities, but for clarity multi-symbol qualities (i.e. "2A" for double-augmented, "sA" for semiaugmented, or even interval-size-based ones like "sM" for submajor) should be enclosed in parentheses.		== Basic structure ==
			Chords (in diatonic, separate schemas may be specified for other scale forms) are conceptualized as a chain of diatonic thirds with alterations, removals, and additions. Notating a chain of thirds that land on intervals with the same quality is simple:

			P1 - M3 - P5 - M7 = "M7"

			Perfect is considered to be simultaneously major and minor, and the first interval quality specified is assumed to apply to the third and "cascade" to all following notes of the chord. Thus, a minor chord looks like this:

			P1 - m3 - P5 - m7 = "m7"

			Interval qualities "cascade", meaning that they apply to all following intervals in the chain by default until a new quality is specified. For example,

			P1 - M3 - P5 - m7 = "Mm7"

			All interval qualities past the first must specify what interval they apply to. So for this example, M (major) applies to all intervals until the seventh, which is m (minor). If any more notes were in the chord, they would also be minor. To specify the highest note without having to specify its quality, you use a comma: a dominant chord with a minor ninth is

			P1 - M3 - P5 - m7 - m9 = "Mm7,9"

			By default, chords are assumed to have a root, third, and fifth.

			To specify a specific root, place it before the rest of the chord name, separated by a space (or an underscore, dot, or other preferred separator where spaces are not supported. But not a dash, that has its own meaning). So, a major chord on C is always "C M" or "C.M" or "C_M", not "CM".

			Additionally, "perfect" (P) is only specified to avoid ambiguity ("C d11" is always all intervals diminished including the 11th, and "C dP11" specifies that the 11 is meant to be perfect) and does not cascade, so the interval quality following a perfect interval must always be specified. That is, "C dP11,13" is not a valid chord name, but "C dP11d13" is.


			To remove a note, place its degree after a minus sign:

			P1 - M3 - m7 = "Mm7-5"

			Note that although replacing a quality, it does not cascade, so that "-" by itself just means a chord without a 3rd, not a chord without a third or fifth. This applies also to a - that is followed by a degree that is not in the chord, such as 4, or 11 in chords with a ninth, seventh, or fifth as their highest note.

			Other than removals, comma-affixed numbers, and the aforementioned case with perfect intervals '''specifying a degree without a quality is invalid.''' "7" is not a valid chord symbol, and a note name by itself cannot refer to a chord. These degrees are ALWAYS specified with interval qualities, NOT accidentals. "Mb9" is invalid (unless you have a magical interval quality named "bajor" in your system, or whatever). To specify the addition of a minor ninth, use "M+m9".

			After this, any additions and alterations can be specified. They can be recognized by the breaking of the chain of thirds (for example, "M7d5" or "M7M10") or by following removals or comma-affixed numbers (Mm7-5M10, Mm7,9M10).

			An interval in this section of the name is an addition if:

			- it references a degree that does not exist in the chord, or

			- it is prefixed by a "+"

			Otherwise, it is an alteration. The first "+" in a chord name unambiguously signals that the chain of thirds section of the name does not continue to that point. So, C M+m9 is a tetrad, not a pentad, meanwhile "C M+m3" is a chord with both a major and a minor third and "C Mm3" is just a minor triad (but notated as if the minor third is replacing a default major third).

			Specifying "3" is not necessary in the main interval chain or in removals, but it is always necessary in additions and alterations. Removals always lack a quality, so "-M7" is always the removal of the 3rd followed by the addition of a major seventh, not the removal of a major seventh. Additionally, -5 is always the removal of the perfect fifth, while -P5 is always the removal of the third followed by the alteration of the chord's fifth to the perfect fifth, or the addition of a perfect fifth to the chord.

			=== Notes ===
			"C d7" is taken to mean a chord that diminishes all intervals and stacks thirds up to the seventh (so C Ebb Gb Bbb). A chord that diminishes only the seventh should be C Md7 or C md7, depending on the quality of your third. The standard diminished seventh chord is C d7m3 or C m3d5,7.
			This system works with essentially any system of qualities, but for clarity multi-symbol qualities (i.e. "AA" for double-augmented, "sA" for semiaugmented, or even interval-size-based ones like "sM" for submajor) should be enclosed in parentheses.

Vector at 10:40, 15 January 2026

2026-01-15T10:40:46Z

← Older revision		Revision as of 10:40, 15 January 2026
Line 1:		Line 1:
	all interval qualities "cascade" to any following intervals until another quality is specified. (Major and minor fifths and fourths both evaluate to perfect, and if "perfect" is specified then it does not cascade and major or minor must be specified for following intervals.) Then, the final note in the chain of thirds (if not already specified), then any additions and alterations (which are always specified with interval qualities, not accidentals, and can always be recognized by the breaking of the chain of thirds. By default, alterations or additions that specify a scale degree that already exists in the chord are alterations, and this is where we bring the "+" symbol back which can be used to clarify that it's an addition. (as in, Cmd5 is C - E - Gb, while Cm+d5 is C - E - Gb - G.) (Note that default additions cannot be validly read as alterations.) Chords are always assumed to be triads by default. Degrees can be omitted by using the "-" symbol: CMm7-5 is a C dominant 7th chord without a 5th (so C - E - Bb). - can be treated like an interval quality, with the caveat that it only applies to a single degree and does not "cascade". So, "C-" just means a C chord without a 3rd, not without both a 3rd and a 5th. "C--5" would be a C chord without a third or fifth, aka just a single C note lol. Otherwise, specifying a degree without a quality is invalid (so "C" would be an invalid chord name, it has to be "CM"). Note that the very first specification is assumed to apply to the third, and to cascade to other intervals unless it's a "-", so a "3" isn't necessary (and should be avoided unless replacing the third like in a Cd7m3 chord). "Cd7" is taken to mean a chord that diminishes all intervals and stacks thirds up to the seventh (so C Ebb Gb Bbb). A chord that diminishes only the seventh should be CMd7 or Cmd7, depending on the quality of your third.		all interval qualities "cascade" to any following intervals until another quality is specified. (Major and minor fifths and fourths both evaluate to perfect, and if "perfect" is specified then it does not cascade and major or minor must be specified for following intervals. Note that perfect is assumed for fourths and fifths and does not need to be explicitly specified unless it is the first character of the chord name after the note or degree name - that is, C11 should be CP11, in order to avoid A11 being ambiguous between "A perfect 11" and "augmented 11") Then, the final note in the chain of thirds (if not already specified), then any additions and alterations (which are always specified with interval qualities, not accidentals, and can always be recognized by the breaking of the chain of thirds. By default, alterations or additions that specify a scale degree that already exists in the chord are alterations, and this is where we bring the "+" symbol back which can be used to clarify that it's an addition. (as in, Cmd5 is C - E - Gb, while Cm+d5 is C - E - Gb - G.) (Note that default additions cannot be validly read as alterations.) Chords are always assumed to be triads by default. Degrees can be omitted by using the "-" symbol: CMm7-5 is a C dominant 7th chord without a 5th (so C - E - Bb). - can be treated like an interval quality, with the caveat that it only applies to a single degree and does not "cascade". So, "C-" just means a C chord without a 3rd, not without both a 3rd and a 5th. "C--5" would be a C chord without a third or fifth, aka just a single C note lol. Otherwise, specifying a degree without a quality is invalid (so "C" would be an invalid chord name, it has to be "CM"). Note that the very first specification is assumed to apply to the third, and to cascade to other intervals unless it's a "-", so a "3" isn't necessary (and should be avoided unless replacing the third like in a Cd7m3 chord). "Cd7" is taken to mean a chord that diminishes all intervals and stacks thirds up to the seventh (so C Ebb Gb Bbb). A chord that diminishes only the seventh should be CMd7 or Cmd7, depending on the quality of your third.


	This system works with essentially any system of qualities, but for clarity multi-symbol qualities (i.e. "2A" for double-augmented, "sA" for semiaugmented, or even interval-size-based ones like "sM" for submajor) should be enclosed in parentheses.		This system works with essentially any system of qualities, but for clarity multi-symbol qualities (i.e. "2A" for double-augmented, "sA" for semiaugmented, or even interval-size-based ones like "sM" for submajor) should be enclosed in parentheses.