The following is a table of chords in 22edo.
The notation for chords here is an adaptation of conventional chord symbols; for a more systematic yet less backwards-compatible approach see Vector's chord names. For Roman numeral analysis, "M" and "m" are removed, all major chords receive an uppercase roman numeral (e.g. IV) and all minor chords receive a lowercase roman numeral (e.g. iv). For figured bass, the same conventions are used as in 12edo, with the addition of ups and downs as possible accidentals.
Fifth-bounded tertian triads
Three-note chords built out of thirds, bounded by a perfect fifth.
| Name
|
Third
|
Fifth
|
Edostep
|
| supermajor (M)
|
supermajor
|
perfect
|
[0 8 13]
|
| nearmajor (P, unmarked)
|
nearmajor
|
perfect
|
[0 7 13]
|
| nearminor (p)
|
nearminor
|
perfect
|
[0 6 13]
|
| subminor (m)
|
subminor
|
perfect
|
[0 5 13]
|
Other tertian triads
Additional three-note chords built out of thirds.
Augmented triads
| Name
|
Third
|
Fifth
|
Edostep
|
Notes
|
| near augmented (z+)
|
nearmajor
|
up
|
[0 7 14]
|
Found by augmenting the fifth in zarlino diatonic by an edostep. Inverts to two other forms of augmented triad.
|
| exo augmented (S+)
|
supermajor
|
augmented
|
[0 8 16]
|
"Neutral" counterpart of 5/3-bounded chords.
|
Diminished triads
| Name
|
Third
|
Fifth
|
Edostep
|
Notes
|
| near diminished (z°)
|
nearminor
|
down
|
[0 6 12]
|
Bounded by 16/11. Found by diminishing the fifth in zarlino by an edostep. Found in z7 chord.
|
| major diminished (°)
|
nearminor
|
updiminished (tritone)
|
[0 6 11]
|
5:6:7. Found in harmonic 4:5:6:7.
|
| minor diminished (m°)
|
subminor
|
updiminished (tritone)
|
[0 5 11]
|
|
| exo diminished (S°)
|
subminor
|
diminished
|
[0 5 10]
|
Equalized 16:19:22. Bounded by 11/8. Diminished triad in mosdiatonic. Found in x7 chord.
|
Tetrads
Supermajor tetrads
| Name
|
Third
|
Fifth
|
Seventh
|
Steps between 3 and 7
|
Edostep
|
Notes
|
| exodominant seventh (S7)
|
supermajor
|
perfect
|
subminor
|
10
|
[0 8 13 18]
|
As a result of the symbol "7" going to the harmonic seventh chord, a couple new symbols had to be devised for the remaining types of dominant chord. "S" (super/sub) refers to chords involving supermajor/subminor interpretations of intervals, while "z" (zarlino) refers to chords involving nearmajor/nearminor interpretations of intervals.
|
| supermajor seventh (M7, Δ7)
|
supermajor
|
perfect
|
supermajor
|
13 (P5)
|
[0 8 13 21]
|
Seventh chord of supermajor.
|
| supermajor nearmajor seventh (MP7)
|
supermajor
|
perfect
|
nearmajor
|
12
|
[0 8 13 20]
|
Acts as a more directed version of a M7 chord.
|
Nearmajor tetrads
| Name
|
Third
|
Fifth
|
Seventh
|
Steps between 3 and 7
|
Edostep
|
Notes
|
| harmonic seventh (7), major harmonic (H)
|
nearmajor
|
perfect
|
subminor
|
11 (tritone)
|
[0 7 13 18]
|
There are a number of reasons to assign the unmarked "7" to the harmonic seventh chord. First of all is that it is backwards compatible with 12edo; the harmonic seventh chord is one possible 22edo generalization of the [0-4-7-10] dominant. Additionally, it is specifically this chord that functions as the dominant chord for a nearmajor chord on the tonic, presuming that 109c is used as the leading tone. Additionally, it uses the 600c tritone like the 12edo dominant does (MOSdiatonic dominants, alongside having the wrong leading tone, do not use the 600c tritone, making techniques like tritone substitution impossible). Also, this is the tonic chord in zarlino Mixolydian. Beyond standard chord symbol conventions, it also makes sense to allow the unmodified 7 to refer to what is arguably the simplest JI seventh chord.
In pajara harmony, the symbol H should be preferred, to emphasize its contrast with the minor harmonic tetrad (Hm).
|
| neardominant seventh (z7)
|
nearmajor
|
perfect
|
nearminor
|
12
|
[0 7 13 19]
|
|
| nearmajor seventh (P7)
|
nearmajor
|
perfect
|
nearmajor
|
13 (P5)
|
[0 7 13 20]
|
Seventh chord of nearmajor.
|
| nearmajor supermajor seventh (PM7)
|
nearmajor
|
perfect
|
supermajor
|
14
|
[0 7 13 21]1]
|
Acts as a less directed version of a P7 chord.
|
Nearminor tetrads
| Name
|
Third
|
Fifth
|
Seventh
|
Steps between 3 and 7
|
Edostep
|
Notes
|
| minor harmonic (Hm)
|
nearminor
|
perfect
|
supermajor 6th
|
11 (tritone)
|
[0 6 13 17]
|
|
| nearminor seventh (p7)
|
nearminor
|
perfect
|
nearminor
|
13 (P5)
|
[0 6 13 19]
|
Seventh chord of nearminor.
|
| nearminor nearmajor seventh (pP7)
|
nearminor
|
perfect
|
nearmajor
|
14
|
[0 6 13 20]
|
Seventh chord of harmonic nearminor.
|
| nearminor subminor seventh (pm7)
|
nearminor
|
perfect
|
subminor
|
12
|
[0 6 13 18]
|
|
Subminor tetrads
| Name
|
Third
|
Fifth
|
Seventh
|
Steps between 3 and 7
|
Edostep
|
Notes
|
| subminor seventh (m7)
|
subminor
|
perfect
|
subminor
|
13 (P5)
|
[0 5 13 18]
|
Seventh chord of subminor.
|
| subminor nearminor seventh (mp7)
|
subminor
|
perfect
|
nearminor
|
14
|
[0 5 13 19]
|
|
| subminor nearmajor seventh (mP7)
|
subminor
|
perfect
|
nearmajor
|
15
|
[0 5 13 20]
|
Seventh chord of harmonic subminor.
|
Non-tertian functional chords
| Name
|
Mediant
|
Bounding interval
|
Edostep
|
Notes
|
| chthonic minor (Lm)
|
minor unilatus (whole tone)
|
perfect fourth
|
[0 4 9]
|
|
| chthonic major (LM)
|
major unilatus (subminor third)
|
perfect fourth
|
[0 5 9]
|
6:7:8 chord.
|
| suspended 4th (sus4)
|
perfect 4th
|
perfect fifth
|
[0 9 13]
|
Suspension resolves to nearmajor. Alternately usable as a consonant 3-limit chord.
|
| suspended up4th (sus^4)
|
up 4th
|
perfect fifth
|
[0 10 13]
|
Suspension resolves to supermajor. Uses the aforementioned supermajor up 4th.
|
| suspended 2nd (sus2)
|
supermajor 2nd
|
perfect fifth
|
[0 4 13]
|
Suspension resolves to nearminor. Alternately usable as a consonant 3-limit or septal chord.
|
| suspended down2nd (susv2)
|
nearmajor 2nd
|
perfect fifth
|
[0 3 13]
|
Suspension resolves to subminor
|
| naiadic minor (S+m)
|
nearmajor third
|
nearmajor sixth
|
[0 7 16]
|
|
| naiadic major (S+M)
|
perfect fourth
|
nearmajor sixth
|
[0 9 16]
|
3:4:5 chord.
|
