■PCMβ（PERFECT CHORD MASTER β）
●The followings are the 15 sets of Q (question) and A(answer)s
Q:tone/A:chord
Q:tone/A:note
Q:tone/A:keyboard(in English)
Q:tone/A:keyboard(in Italian)
Q:keyboard/A:tone
Q:keyboard/A:note
Q:keyboard/A:chord name
Q:note/keyboard(in English)
Q:note/keyboard(in Italian)
Q:note/A:tone
Q:note/A:chord name
Q:chord name/A:tone
Q:chord name/A:keyboard(in English)
Q:chord name/A:keyboard(in Italian)
Q:chord name/A:note
●Chord types used
・Monotones
Total, 17 monotones from C to B including ＃s and ♭s
| Monotones | ||||||||||||||||
|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
| C | C＃ | D♭ | D | D＃ | E♭ | E | F | F＃ | G♭ | G | G＃ | A♭ | A | A＃ | B♭ | B |
・Intervals
Total, 8 types of intervals of which the root notes are above monotones
| Intervals | |||||||
|---|---|---|---|---|---|---|---|
| minor third | major third | perfect forth | diminished fifth | perfect fifth | augmented fifth | major sixth | major seventh |
・Triads
Total, 5 types of triads of which the root notes are above monotones
| Triads | ||||
|---|---|---|---|---|
| major | minor | augment | diminish | sus4 |
・Tetrads
Total, 11 types of tetrads of which the root notes are above monotones
| Tetrads | |||||
|---|---|---|---|---|---|
| seventh | mejor seventh | minor seventh | minor major seventh | diminish seventh | seventh sus4 |
| Minor seventh -5 | sixth | minor sixth | add9 | minor add9 | |
- In this application, the root notes that become on white keys by using ＃s and ♭s, e.g. E♯, F♭, B＃ and C♭, are used for triads and tetrads, because C♭ (B flat major) is handled. However, for monotones and intervals, these root notes are not used. For example, when Q is the tone and it sounds the monotone E”, A is only “E” and so answers such as “F♭” should not be written. Also, when Q is the tone and it sounds the major third of E, users do not write “major third of F♭” in the answer. Regarding enharmonic intervals, the detailed rules will be described later.
●Regarding tonality
In triads and tetrads, a total of 18 tones, that added C♭ to the root note of each chord, are regarded as key-notes, and the tonality will be set within seven key signatures including the sharp and flat key signatures.
For example, when the root note of the chord is C, it becomes C major or C minor.
The followings are the keys used in this application.
| The number of ＃s | 0 | 1 | 2 | 3 | 4 | 5 | 6 | 7 |
|---|---|---|---|---|---|---|---|---|
| Major | C | G | D | A | E | B | F＃ | C＃ |
| Minor | Am | Em | Bm | F＃m | C＃m | G＃m | D＃m | A＃m |
| The number of ♭s | 0 | 1 | 2 | 3 | 4 | 5 | 6 | 7 |
|---|---|---|---|---|---|---|---|---|
| Major | C | F | B♭ | E♭ | A♭ | D♭ | G♭ | C♭ |
| Minor | Am | Dm | Gm | Cm | Fm | B♭m | E♭m | A♭m |
- In triads, major augment and sus4 are regarded as major chords. Minor and diminish are regarded as minor chords. Judging from the root notes, if the keys do not exist in the list above they are not used in both Q/A. Therefore, they do not appear both in questions and answers.
- In tetrads, major chords are regarded as sevenths and major sevenths and minor chords are regarded as minor sevenths and minor major sevenths. In triads, judging from the root notes, if the keys do not exist in the list above they are not used in both Q/A. Therefore, they do not appear both in questions and answers.
●Regarding each notation
If chord names are the same, sometimes the notations differ depending on notes, instruments and genres of the music. Therefore, questions will be set in four types at the most, from the ones thought to have the highest usage rate.
For the answer, anything except for the one with the highest usage rate should be written in parenthesis.
・Reading and notation of the chord name (in case of C being the root note）
※The items with the highest usage rate are written in the leftmost
| Reading | C major | C major | C major | C major |
|---|---|---|---|---|
| Notation | C | CM | Cmaj | C△ |
※The major chord is often notated by only key-note.
| Reading | C minor | C minor |
|---|---|---|
| Notation | Cm | C_ |
| Reading | C augument | C plus | C plus five | C sharp five |
|---|---|---|---|---|
| Notation | Caug | C+ | C+5 | C(＃5) |
| Reading | C diminish | C diminish | C minor minus five | C minor flat five |
|---|---|---|---|---|
| Notation | Cdim | Co | Cm-5 | Cm(♭5) |
| Reading | C sus four |
|---|---|
| Notation | Csus4 |
| Reading | C seventh |
|---|---|
| Notation | C7 |
| Reading | C major seventh | C major seventh | C major seventh |
|---|---|---|---|
| Notation | CM7 | Cmaj7 | C△7 |
| Reading | C minor seventh | C minor seventh |
|---|---|---|
| Notation | Cm7 | C_7 |
| Reading | C minor major seventh | C minor major seventh | C minor major seventh |
|---|---|---|---|
| 表記 | CmM7 | Cm maj7 | Cm△7 |
| Reading | C minor seventh minus five | C minor seventh flat five | C half diminish |
|---|---|---|---|
| Notation | Cm7-5 | Cm7(♭5) | Cø |
| Reading | C diminish seventh | C diminish seventh |
|---|---|---|
| Notation | Cdim7 | Co7 |
| Reading | C seventh sus four |
|---|---|
| Notation | C7sus4 |
| Reading | C sixth |
|---|---|
| Notation | C6 |
| Reading | C minor sixth | C minor sixth |
|---|---|---|
| Notation | Cm6 | C_6 |
| Reading | C add ninth |
|---|---|
| Notation | Cadd9 |
| Reading | C minot add ninth | C minot add ninth |
|---|---|---|
| Notation | Cm add9 | C_add9 |
●Regarding handling of enharmonic
Regarding enharmonic intervals where the keys pressed are the same (e.g. C＃ and D♭, and A＃ and B♭), in case the Q is tones or keys, it is difficult to judge which to write for the answer. In such cases, write down both, only if the keys exist in both.
For example, when Q is the tone and B♭minor seventh sounds, since B♭ and A♯ are enharmonic and B♭minor and A# minor both have less than seven ＃s and ♭s, they exist in this application. Therefore if it is to answer the chord name, the answer is “B♭m7, A＃m７”.
However, when Q is the tone and B♭M7 sounds, although B flat major exists, since A sharp major has 10 ＃s, it is not handled in this application. Therefore if it is to answer the chord name, the answer is only “B♭M7”.
However, this rule for keys is only for triads and tetrads. In monotones and intervals, all enharmonic intervals are written with both chord names in the answer. Yet, as described previously, this excludes the cases in which the monotone or root note are on white keys (e.g. E and F♭, and B and C♭).
●Regarding ♭♭ (double flat) ☓ and(double sharp)
・Monotones
Not handling. Therefore, F＃ is not regarded as E☓.
・Intervals
They are not handled in root notes. However, they are used if they are necessary as component tones.
For example, when Q is tones and C♯aug5 sounds, and it is to answer keys and notes, the answer is “C♯/G☓”.
The reason of using×intentionally and not writing “C＃/A” is because C and A are six degrees, it is right to regard “C♯/A” as the minor sixth of C＃ instead of augmented fifth of C＃.
・Triads
Not handling in root notes. However, they are used if they are necessary as component tone.
For example, when Q is the tone and C＃aug sounds, if it is to answer keys and notes, the answer is “C＃/E＃/G☓”.
In this case, intentionally use ☓ and do not write “C＃/F/A”.
This is because in augmented chord the component tone is a root note/major third from the root note/augmented fifth and is right in the theory of interval.
・Tetrads
Like triads, they are not handled in root notes. However, they are used if they are necessary regarding the character of chord, and interval.