Hemimage bleeding chord - Revision history

FloraC: Rework

2024-12-23T09:42:39Z

Rework

← Older revision		Revision as of 09:42, 23 December 2024
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	~~The~~ '''hemimage bleeding chord''' ~~refers to a collection~~ of [[hemimage]] tempered chords built on the bleeding tones (see below). The standard form is of ratios 1-[[7/6]]-[[3/2]]-[[7/4]] built on the upper bleeding tone. First explored by [[Flora Canou]], it features up to four instances of voice leading by [[28/27]] in the resolution to the tonic.		A '''hemimage bleeding chord''' is any of the [[hemimage]] tempered chords built on the bleeding tones (see below). There are six chords in total. The standard form is of ratios 1–[[7/6]]–[[3/2]]–[[7/4]] built on the upper bleeding tone. First explored by [[Flora Canou]], it features up to four instances of voice leading by [[28/27]] in the resolution to the tonic.

	== Bleeding tone ==		== Bleeding tone ==
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	== Construction ==		== Construction ==
	The standard form, the '''hemimage upper bleeding tetrad''', consists of a tempered ~~1-7~~/~~6-3~~/~~2-7~~/4, usually built on the upper bleeding tone. The root is 28/27 above the tonic, and the fifth is 28/27 above the dominant. By the tempering of hemimage, the 7/6 is [[98/81]]~[[135/112]] with respect to the tonic, and 135/112 is 28/27 below 5/4. The 7/4 is [[49/27]]~[[405/224]] with respect to the tonic, and 405/224 is 28/27 below [[15/8]]. For this reason the 7/6 works as a subminor third in terms of chord construction, and as an augmented second in terms of voice leading. The 7/4 works as a subminor seventh in terms of chord construction, and as a augmented sixth in terms of voice leading. The 135/112 and 405/224 spellings are arguably preferable for staff notation as they highlight the voice leading. The progression with respect to the tonic is		The standard form, the '''hemimage upper bleeding tetrad''', consists of a tempered [[12:14:18:21\|1–7/6–3/2–7/4]], usually built on the upper bleeding tone. The root is 28/27 above the tonic, and the fifth is 28/27 above the dominant. By the tempering of hemimage, the 7/6 is [[98/81]]~[[135/112]] with respect to the tonic, and 135/112 is 28/27 below 5/4. The 7/4 is [[49/27]]~[[405/224]] with respect to the tonic, and 405/224 is 28/27 below [[15/8]]. For this reason the 7/6 works as a subminor third in terms of chord construction, and as an augmented second in terms of voice leading. The 7/4 works as a subminor seventh in terms of chord construction, and as a augmented sixth in terms of voice leading. The 135/112 and 405/224 spellings are arguably preferable for staff notation as they highlight the voice leading. The progression with respect to the tonic is

	<math>\text {(Hemimage) } 28/27–98/81–14/9–49/27 \rightarrow 1–5/4–3/2–15/8</math>		<math>\text {(Hemimage) } 28/27–98/81–14/9–49/27 \rightarrow 1–5/4–3/2–15/8</math>
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	While the simplest ratios are presented here, it should be noted that the 98/81 is simultaneously 135/112, and that 49/27 is simultaneously 405/224. The voice leadings of 135/112 → 5/4 and 405/224 → 15/8 are characterized by 28/27, just as of 28/27 → 1 and of 14/9 → 3/2.		While the simplest ratios are presented here, it should be noted that the 98/81 is simultaneously 135/112, and that 49/27 is simultaneously 405/224. The voice leadings of 135/112 → 5/4 and 405/224 → 15/8 are characterized by 28/27, just as of 28/27 → 1 and of 14/9 → 3/2.

	The negative harmony version, the '''hemimage lower bleeding tetrad''', consists of a tempered 1-[[9/~~7]]-3~~/~~2-[[12~~/7]], built on the lower bleeding tone, 27/28, with the 9/7 being [[56/45]]~[[243/196]], and 12/7 being [[81/49]]~[[224/135]] with respect to the tonic. The progression with respect to the tonic is		The negative harmony version, the '''hemimage lower bleeding tetrad''', consists of a tempered [[14:18:21:24\|1–9/7–3/2–12/7]], built on the lower bleeding tone, 27/28, with the 9/7 being [[56/45]]~[[243/196]], and 12/7 being [[81/49]]~[[224/135]] with respect to the tonic. The progression with respect to the tonic is

	<math>\text {(Hemimage) } 27/28–56/45–81/56–81/49 \rightarrow 1–6/5–3/2–8/5</math>		<math>\text {(Hemimage) } 27/28–56/45–81/56–81/49 \rightarrow 1–6/5–3/2–8/5</math>
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	The 56/45 is simultaneously 243/196, and that 81/49 is simultaneously 224/135. The voice leadings of 243/196 → 6/5 and 224/135 → 8/5 are characterized by 28/27, just as of 27/28 → 1 and of 81/56 → 3/2.		The 56/45 is simultaneously 243/196, and that 81/49 is simultaneously 224/135. The voice leadings of 243/196 → 6/5 and 224/135 → 8/5 are characterized by 28/27, just as of 27/28 → 1 and of 81/56 → 3/2.

	As one might expect, the ~~reverse works~~ as well.		As one might expect, the reverses work as well.

	The '''hemimage reverse lower bleeding tetrad''' is ~~1-5~~/~~4-3~~/~~2-15~~/8 built on the lower bleeding tone.		The '''hemimage reverse lower bleeding tetrad''' is [[8:10:12:15\|1–5/4–3/2–15/8]] built on the lower bleeding tone.

	<math>\text {(Hemimage) } 27/28–98/81–81/56–49/27 \rightarrow 1–7/6–3/2–7/4</math>		<math>\text {(Hemimage) } 27/28–98/81–81/56–49/27 \rightarrow 1–7/6–3/2–7/4</math>
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	with the same voice leading at 27/28 → 1, 98/81 → 7/6, 81/56 → 3/2, and 49/27 → 7/4.		with the same voice leading at 27/28 → 1, 98/81 → 7/6, 81/56 → 3/2, and 49/27 → 7/4.

	The negative harmony version, the '''hemimage reverse upper bleeding tetrad''', is ~~1-6~~/~~5-3~~/~~2-8~~/5 built on the upper bleeding tone.		The negative harmony version, the '''hemimage reverse upper bleeding tetrad''', is [[10:12:15:16\|1–6/5–3/2–8/5]] built on the upper bleeding tone.

	<math>\text {(Hemimage) } 28/27–56/45–14/9–81/49 \rightarrow 1–9/7–3/2–12/7</math>		<math>\text {(Hemimage) } 28/27–56/45–14/9–81/49 \rightarrow 1–9/7–3/2–12/7</math>
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	There is a variant, which "bleeds" the tonic from above and the dominant from below. The negative harmony version does this also. Since that contrary motion is always present, the other two notes may be resolved either up or down.		There is a variant, which "bleeds" the tonic from above and the dominant from below. The negative harmony version does this also. Since that contrary motion is always present, the other two notes may be resolved either up or down.

	The '''hemimage positively variant bleeding tetrad''', is ~~1-7/6-~~[[7/5]]~~-7/4~~. This chord can be resolved to either ~~1-5~~/~~4-3~~/~~2-15~~/8 or ~~1-7~~/~~6-3~~/~~2-7~~/4.		The '''hemimage positively variant bleeding tetrad''', is [[60:70:84:105\|1–7/6–7/5–7/4]]. This chord can be resolved to either 1–5/4–3/2–15/8 or 1–7/6–3/2–7/4.

	<math>		<math>
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	In the first progression, voice leadings are present at 28/27 → 1, 135/112 → 5/4, 81/56 → 3/2, and 405/224 → 15/8. In the second progression, 28/27 → 1, 98/81 → 7/6, 81/56 → 3/2, and 49/27 → 7/4.		In the first progression, voice leadings are present at 28/27 → 1, 135/112 → 5/4, 81/56 → 3/2, and 405/224 → 15/8. In the second progression, 28/27 → 1, 98/81 → 7/6, 81/56 → 3/2, and 49/27 → 7/4.

	The '''hemimage negatively variant bleeding tetrad''', is 1-6/~~5-7~~/~~5-8~~/5, again built on the ''upper'' bleeding tone. This chord can be resolved to either ~~1-6~~/~~5-3~~/~~2-8~~/5 or ~~1-9~~/~~7-3~~/~~2-12~~/7.		The '''hemimage negatively variant bleeding tetrad''', is [[5:6:7:8\|1–6/5–7/5–8/5]], again built on the ''upper'' bleeding tone. This chord can be resolved to either 1–6/5–3/2–8/5 or 1–9/7–3/2–12/7.

	<math>		<math>
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	=== Original occurrence ===		=== Original occurrence ===
	The chord originally arose as ~~1-4-11-15~~ steps of [[19edo\|19et]], used for the purpose of a stronger version of the traditional leading chord.		The chord originally arose as 1–4–11–15 steps of [[19edo\|19et]], used for the purpose of a stronger version of the traditional leading chord.

	=== Septimal voice leading ===		=== Septimal voice leading ===
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	=== Relation to essentially tempered chords ===		=== Relation to essentially tempered chords ===
	The chord by itself is otonal and not an [[essentially tempered chord]] of the hemimage temperament, but the tempered essence is emergent if the chord is viewed ~~relative to~~ the ~~tonic~~. The minimalist essence of this chord is the 27-odd-limit triad ~~1-28~~/~~27-27~~/14 with steps 28/~~27-28~~/~~15-28~~/27.		The chord by itself is otonal and not an [[essentially tempered chord]] of the hemimage temperament, but the tempered essence is emergent if the chord is viewed in the bleed–tonic progression. The minimalist essence of this chord is the 27-odd-limit triad 1–28/27–27/14 with steps 28/27–28/15–28/27.

	[[Category:~~Chords~~]]		[[Category:Tetrads]]
	[[Category:19edo]]		[[Category:19edo]]
	[[Category:Hemimage]]		[[Category:Hemimage]]

Fredg999 category edits: Removing from Category:Theory using Cat-a-lot

2023-03-02T03:53:56Z

Removing from Category:Theory using Cat-a-lot

← Older revision		Revision as of 03:53, 2 March 2023
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	[[Category:Chords]]		[[Category:Chords]]
	~~[[Category:Theory]]~~
	[[Category:19edo]]		[[Category:19edo]]
	[[Category:Hemimage]]		[[Category:Hemimage]]

FloraC: +relation to essentially tempered chords

2022-02-08T22:51:32Z

+relation to essentially tempered chords

← Older revision		Revision as of 22:51, 8 February 2022
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	{{:Flora's analysis on septimal voice leading}}		{{:Flora's analysis on septimal voice leading}}

			=== Relation to essentially tempered chords ===
			The chord by itself is otonal and not an [[essentially tempered chord]] of the hemimage temperament, but the tempered essence is emergent if the chord is viewed relative to the tonic. The minimalist essence of this chord is the 27-odd-limit triad 1-28/27-27/14 with steps 28/27-28/15-28/27.

	[[Category:Chords]]		[[Category:Chords]]

FloraC: That should count as two it seems

2022-02-08T22:37:07Z

That should count as two it seems

← Older revision		Revision as of 22:37, 8 February 2022
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	with the same voice leading at 28/27 → 1, 243/196 → 9/7, 14/9 → 3/2, and 81/49 → 12/7.		with the same voice leading at 28/27 → 1, 243/196 → 9/7, 14/9 → 3/2, and 81/49 → 12/7.

	There ~~are four variants~~, ~~all of~~ which "bleeds" the tonic from above and the dominant from below. The negative harmony version does this also. Since that contrary motion is always present, the other two notes may be resolved either up or down.		There is a variant, which "bleeds" the tonic from above and the dominant from below. The negative harmony version does this also. Since that contrary motion is always present, the other two notes may be resolved either up or down.

	The '''hemimage positively variant bleeding tetrad''', is 1-7/6-[[7/5]]-7/4. This chord can be resolved to either 1-5/4-3/2-15/8 or 1-7/6-3/2-7/4.		The '''hemimage positively variant bleeding tetrad''', is 1-7/6-[[7/5]]-7/4. This chord can be resolved to either 1-5/4-3/2-15/8 or 1-7/6-3/2-7/4.

FloraC: +four more chords

2022-02-08T22:33:47Z

+four more chords

← Older revision		Revision as of 22:33, 8 February 2022
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	The '''hemimage bleeding chord''' refers to ~~the~~ [[hemimage]] tempered ~~chord~~ of ratios 1-[[7/6]]-[[3/2]]-[[7/4]] built on the upper bleeding tone ~~(see below)~~. First explored by [[Flora Canou]], it features up to four instances of voice leading by [[28/27]] in the resolution to the tonic.		The '''hemimage bleeding chord''' refers to a collection of [[hemimage]] tempered chords built on the bleeding tones (see below). The standard form is of ratios 1-[[7/6]]-[[3/2]]-[[7/4]] built on the upper bleeding tone. First explored by [[Flora Canou]], it features up to four instances of voice leading by [[28/27]] in the resolution to the tonic.

	== Bleeding tone ==		== Bleeding tone ==
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	== Construction ==		== Construction ==
	The ~~chord~~ consists of a tempered 1-7/6-3/2-7/4, usually built on the upper bleeding tone. The root is 28/27 above the tonic, and the fifth is 28/27 above the dominant. By the tempering of hemimage, the 7/6 is [[98/81]]~[[135/112]] with respect to the tonic, and 135/112 is 28/27 below 5/4. The 7/4 is [[49/27]]~[[405/224]] with respect to the tonic, and 405/224 is 28/27 below [[15/8]]. For this reason the 7/6 works as a subminor third in terms of chord construction, and as an augmented second in terms of voice leading. The 7/4 works as a subminor seventh in terms of chord construction, and as a augmented sixth in terms of voice leading. The 135/112 and 405/224 spellings are arguably preferable for staff notation as they highlight the voice leading. The progression with respect to the tonic is		The standard form, the '''hemimage upper bleeding tetrad''', consists of a tempered 1-7/6-3/2-7/4, usually built on the upper bleeding tone. The root is 28/27 above the tonic, and the fifth is 28/27 above the dominant. By the tempering of hemimage, the 7/6 is [[98/81]]~[[135/112]] with respect to the tonic, and 135/112 is 28/27 below 5/4. The 7/4 is [[49/27]]~[[405/224]] with respect to the tonic, and 405/224 is 28/27 below [[15/8]]. For this reason the 7/6 works as a subminor third in terms of chord construction, and as an augmented second in terms of voice leading. The 7/4 works as a subminor seventh in terms of chord construction, and as a augmented sixth in terms of voice leading. The 135/112 and 405/224 spellings are arguably preferable for staff notation as they highlight the voice leading. The progression with respect to the tonic is

	<math>\text {(Hemimage) } 28/27–98/81–14/9–49/27 \rightarrow 1–5/4–3/2–15/8</math>		<math>\text {(Hemimage) } 28/27–98/81–14/9–49/27 \rightarrow 1–5/4–3/2–15/8</math>
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	While the simplest ratios are presented here, it should be noted that the 98/81 is simultaneously 135/112, and that 49/27 is simultaneously 405/224. The voice leadings of 135/112 → 5/4 and 405/224 → 15/8 are characterized by 28/27, just as of 28/27 → 1 and of 14/9 → 3/2.		While the simplest ratios are presented here, it should be noted that the 98/81 is simultaneously 135/112, and that 49/27 is simultaneously 405/224. The voice leadings of 135/112 → 5/4 and 405/224 → 15/8 are characterized by 28/27, just as of 28/27 → 1 and of 14/9 → 3/2.

	The negative harmony version of the ~~chord~~ consists of a tempered 1-[[9/7]]-3/2-[[12/7]], built on the lower bleeding tone, 27/28, with the 9/7 being [[56/45]]~[[243/196]], and 12/7 being [[81/49]]~[[224/135]] with respect to the tonic. The progression with respect to the tonic is		The negative harmony version, the '''hemimage lower bleeding tetrad''', consists of a tempered 1-[[9/7]]-3/2-[[12/7]], built on the lower bleeding tone, 27/28, with the 9/7 being [[56/45]]~[[243/196]], and 12/7 being [[81/49]]~[[224/135]] with respect to the tonic. The progression with respect to the tonic is

	<math>\text {(Hemimage) } 27/28–56/45–81/56–81/49 \rightarrow 1–6/5–3/2–8/5</math>		<math>\text {(Hemimage) } 27/28–56/45–81/56–81/49 \rightarrow 1–6/5–3/2–8/5</math>
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	The 56/45 is simultaneously 243/196, and that 81/49 is simultaneously 224/135. The voice leadings of 243/196 → 6/5 and 224/135 → 8/5 are characterized by 28/27, just as of 27/28 → 1 and of 81/56 → 3/2.		The 56/45 is simultaneously 243/196, and that 81/49 is simultaneously 224/135. The voice leadings of 243/196 → 6/5 and 224/135 → 8/5 are characterized by 28/27, just as of 27/28 → 1 and of 81/56 → 3/2.

	~~A possible variant is 1-7/6-[[7/5]]-7/4. The 7/5 goes up by 28/27 to~~ the ~~dominant~~. ~~The progression with respect to the tonic is~~		As one might expect, the reverse works as well.

	~~<math>\text {(Hemimage) } 28~~/~~27–98~~/~~81–81/56–49/27 \rightarrow 1–5/4–3/2–15~~/8~~</math>~~		The '''hemimage reverse lower bleeding tetrad''' is 1-5/4-3/2-15/8 built on the lower bleeding tone.

	~~with the same voice leading at 28~~/~~27 → 1, 135~~/~~112 → 5~~/~~4, 81~~/~~56 → 3~~/~~2, and 405~~/~~224 → 15~~/8.		<math>\text {(Hemimage) } 27/28–98/81–81/56–49/27 \rightarrow 1–7/6–3/2–7/4</math>

	~~The negative harmony version is~~ 1-6/5-7/~~5-8~~/5, ~~again built on the ''upper'' bleeding tone~~.		with the same voice leading at 27/28 → 1, 98/81 → 7/6, 81/56 → 3/2, and 49/27 → 7/4.

	~~<math>\text {(Hemimage) } 28~~/~~27–56/45–81/56–81/49 \rightarrow 1–6~~/~~5–3/2–8~~/5~~</math>~~		The negative harmony version, the '''hemimage reverse upper bleeding tetrad''', is 1-6/5-3/2-8/5 built on the upper bleeding tone.

	with the same voice leading at 28/27 → 1, 56/45 → 6/5, 81/56 → 3/2, and 224/135 → 8/5.		<math>\text {(Hemimage) } 28/27–56/45–14/9–81/49 \rightarrow 1–9/7–3/2–12/7</math>

			with the same voice leading at 28/27 → 1, 243/196 → 9/7, 14/9 → 3/2, and 81/49 → 12/7.

			There are four variants, all of which "bleeds" the tonic from above and the dominant from below. The negative harmony version does this also. Since that contrary motion is always present, the other two notes may be resolved either up or down.

			The '''hemimage positively variant bleeding tetrad''', is 1-7/6-[[7/5]]-7/4. This chord can be resolved to either 1-5/4-3/2-15/8 or 1-7/6-3/2-7/4.

			<math>
			\begin {align}
			\text {(Hemimage) } 28/27–98/81–81/56–49/27 &\rightarrow 1–5/4–3/2–15/8 \\
			&\rightarrow 1–7/6–3/2–7/4
			\end {align}
			</math>

			In the first progression, voice leadings are present at 28/27 → 1, 135/112 → 5/4, 81/56 → 3/2, and 405/224 → 15/8. In the second progression, 28/27 → 1, 98/81 → 7/6, 81/56 → 3/2, and 49/27 → 7/4.

			The '''hemimage negatively variant bleeding tetrad''', is 1-6/5-7/5-8/5, again built on the ''upper'' bleeding tone. This chord can be resolved to either 1-6/5-3/2-8/5 or 1-9/7-3/2-12/7.

			<math>
			\begin {align}
			\text {(Hemimage) } 28/27–56/45–81/56–81/49 &\rightarrow 1–6/5–3/2–8/5 \\
			&\rightarrow 1–9/7–3/2–12/7
			\end {align}
			</math>

			In the first progression, voice leadings are present at 28/27 → 1, 56/45 → 6/5, 81/56 → 3/2, and 224/135 → 8/5. In the second progression, 28/27 → 1, 243/196 → 9/7, 81/56 → 3/2, and 81/49 → 12/7.

	== Theory ==		== Theory ==

FloraC: Fix a mistake

2022-02-08T20:37:35Z

Fix a mistake

← Older revision		Revision as of 20:37, 8 February 2022
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	=== Original occurrence ===		=== Original occurrence ===
	The chord originally arose as 1-4-12 steps of [[19edo\|19et]], used for the purpose of a stronger version of the traditional leading chord.		The chord originally arose as 1-4-11-15 steps of [[19edo\|19et]], used for the purpose of a stronger version of the traditional leading chord.

	=== Septimal voice leading ===		=== Septimal voice leading ===

FloraC: Created page with "The '''hemimage bleeding chord''' refers to the hemimage tempered chord of ratios 1-7/6-3/2-7/4 built on the upper bleeding tone (see below). First explored by..."

2022-02-08T20:35:12Z

Created page with "The '''hemimage bleeding chord''' refers to the hemimage tempered chord of ratios 1-7/6-3/2-7/4 built on the upper bleeding tone (see below). First explored by..."

New page

The '''hemimage bleeding chord''' refers to the [[hemimage]] tempered chord of ratios 1-[[7/6]]-[[3/2]]-[[7/4]] built on the upper bleeding tone (see below). First explored by [[Flora Canou]], it features up to four instances of voice leading by [[28/27]] in the resolution to the tonic.

== Bleeding tone ==
In [[Mason Green's New Common Practice Notation]], the bleeding tone is a subminor second or a supermajor seventh to the tonic. In this article, 28/27 will be dubbed the upper bleeding tone, and 27/14, the lower bleeding tone.

== Construction ==
The chord consists of a tempered 1-7/6-3/2-7/4, usually built on the upper bleeding tone. The root is 28/27 above the tonic, and the fifth is 28/27 above the dominant. By the tempering of hemimage, the 7/6 is [[98/81]]~[[135/112]] with respect to the tonic, and 135/112 is 28/27 below 5/4. The 7/4 is [[49/27]]~[[405/224]] with respect to the tonic, and 405/224 is 28/27 below [[15/8]]. For this reason the 7/6 works as a subminor third in terms of chord construction, and as an augmented second in terms of voice leading. The 7/4 works as a subminor seventh in terms of chord construction, and as a augmented sixth in terms of voice leading. The 135/112 and 405/224 spellings are arguably preferable for staff notation as they highlight the voice leading. The progression with respect to the tonic is

<math>\text {(Hemimage) } 28/27–98/81–14/9–49/27 \rightarrow 1–5/4–3/2–15/8</math>

While the simplest ratios are presented here, it should be noted that the 98/81 is simultaneously 135/112, and that 49/27 is simultaneously 405/224. The voice leadings of 135/112 → 5/4 and 405/224 → 15/8 are characterized by 28/27, just as of 28/27 → 1 and of 14/9 → 3/2.

The negative harmony version of the chord consists of a tempered 1-[[9/7]]-3/2-[[12/7]], built on the lower bleeding tone, 27/28, with the 9/7 being [[56/45]]~[[243/196]], and 12/7 being [[81/49]]~[[224/135]] with respect to the tonic. The progression with respect to the tonic is

<math>\text {(Hemimage) } 27/28–56/45–81/56–81/49 \rightarrow 1–6/5–3/2–8/5</math>

The 56/45 is simultaneously 243/196, and that 81/49 is simultaneously 224/135. The voice leadings of 243/196 → 6/5 and 224/135 → 8/5 are characterized by 28/27, just as of 27/28 → 1 and of 81/56 → 3/2.

A possible variant is 1-7/6-[[7/5]]-7/4. The 7/5 goes up by 28/27 to the dominant. The progression with respect to the tonic is

<math>\text {(Hemimage) } 28/27–98/81–81/56–49/27 \rightarrow 1–5/4–3/2–15/8</math>

with the same voice leading at 28/27 → 1, 135/112 → 5/4, 81/56 → 3/2, and 405/224 → 15/8.

The negative harmony version is 1-6/5-7/5-8/5, again built on the ''upper'' bleeding tone.

<math>\text {(Hemimage) } 28/27–56/45–81/56–81/49 \rightarrow 1–6/5–3/2–8/5</math>

with the same voice leading at 28/27 → 1, 56/45 → 6/5, 81/56 → 3/2, and 224/135 → 8/5.

== Theory ==
This section explains why the chord is what it is.

=== Original occurrence ===
The chord originally arose as 1-4-12 steps of [[19edo|19et]], used for the purpose of a stronger version of the traditional leading chord.

=== Septimal voice leading ===
<small>This section is transcluded from [[Flora's analysis on septimal voice leading]]</small>

{{:Flora's analysis on septimal voice leading}}

[[Category:Chords]]
[[Category:Theory]]
[[Category:19edo]]
[[Category:Hemimage]]