User:Holger Stoltenberg/embed: Difference between revisions

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==== Audio only ====
==== Audio only ====
[[File:Pedal steel played with reverb.ogg|thumb|center|A song played on an E9 pedal |steel guitar]]
[[File:Pedal steel played with reverb.ogg|thumb|center|steel guitar]]


==== Link to Wikipedia source ====
==== Link to Wikipedia source ====
Line 36: Line 36:
[[Adam Neely]]; The 7 Levels of Jazz Harmony, <br>  
[[Adam Neely]]; The 7 Levels of Jazz Harmony, <br>  
'''Intonalism''' [9:12], '''Xenharmonic''' [10:46]|frame|start=552&end=721}}
'''Intonalism''' [9:12], '''Xenharmonic''' [10:46]|frame|start=552&end=721}}
<br>
Fig.5 shows a comparison of four augmented chords that sound quite different. <br>
Listen to the following audio examples...
[[File:Fig-5 tonal space 753i aug.png|thumb|430px|right|<u>Fig.5</u>: Selection of different augmented chords]]
:{| class="wikitable"
!Chord
!Play
|-
|mode16 aug (16:20:25)<br>2 stacked pure 3rds||[[File:TS_aug_L16_p25_C_P-I_Fig-5.mp3|80px]]
|-
|mode14 aug (14:18:22)<br>sounds equal to (7:9:11)||[[File:TS_aug_L14_C_P-I_Fig-5.mp3|80px]]
|-
|mode11 aug (11:14:17)<br>no, this is not major...||[[File:TS_aug_L11-14-17_C_P-I_Fig-5.mp3|80px]]
|-
|mode10 aug (10:13:16)<br>extra wide 3rd||[[File:TS_aug_L10_C_P-I_Fig-5.mp3|80px]]
|-
|style="background-color:#e2e2e2;" |mode8 maj (8:10:12)<br>'''pure major''' for reference||style="background-color:#e2e2e2;" |[[File:TS_maj_lin_8_C_P-I_Fig-5.mp3|80px]]
|}
Fig.6 shows a comparison of five different diminished chords. <br>
[[File:Fig-6_tonal_space_864i_dim_III.png|thumb|430px|right|<u>Fig.6</u>: Selection of 5 different diminished triads]]
:{| class="wikitable"
!Chord
!Play
|-
|mode16 dim (16:19:22)<br> ||[[File:TS_dim_L16-19-22_Eb_V03.mp3|80px]]
|-
|mode14 dim (14:17:20)<br> ||[[File:TS_dim_L14-17-20_Eb_V03.mp3|80px]]
|-
|mode11 dim (11:13:15)<br> ||[[File:TS_dim_L11-13-15_Eb_V03.mp3|80px]]
|-
|mode10 dim (10:12:14)<br> ||[[File:TS_dim_L10-12-14_Eb_V03.mp3|80px]]
|-
|mode9 dim (9:11:13)<br>  ||[[File:TS_dim_L9-11-13_Eb_V03.mp3|80px]]
|}
Fig.7 shows a selection of four different minor chords. <br>
[[File:Fig-7_tonal_space_1051i_min_02.png|thumb|430px|right|<u>Fig.7</u>: Selection of 4 different minor triads]]
:{| class="wikitable"
!Chord
!Play
|-
|mode26 min (26:30:39)<br> ||[[File:TS_min_L26_D_V01.mp3|80px]]
|-
|mode16 min (16:19:24)<br> ||[[File:TS_min_L16_D_V01.mp3|80px]]
|-
|mode12 min (12:14:18)<br> ||[[File:TS_min_L12_D_V01.mp3|80px]]
|-
|mode10 min (10:12:15)<br> ||[[File:TS_min_L10_D_V01.mp3|80px]]
|}
<br><br><br><br>


Fig.5 shows a comparison of four augmented chords that sound quite different:
Fig.8 shows four varieties of what I call ''crossover (x-over) triads'', all of which are rooted at 0 cents. Crossover triads are neither diminished nor augmented. From a major perspective, x-over chords incorporate a flattened third and a raised fifth. <br>
[[File:Fig-5 tonal space 753i aug.png|480px|right]]
[[File:Fig-8_tonal_space_867j_x-over_03.png|thumb|430px|right|<u>Fig.8</u>: Selection of 4 different ''crossover (x-over)'' triads.<br>
<center><small><u>Fig.5</u>: Selection of different augmented chords </small></center>
Unlike minor or major chords, crossover triads are neither diminished nor augmented and do not incorporate a pure fifth.]]
:{| class="wikitable"
!Chord
!Play
|-
|mode17 x-over (17:20:26)<br> ||[[File:TS_xover_L17-20-26_C++_V03.mp3|80px]]
|-
|mode14 x-over (14:17:22)<br> ||[[File:TS_xover_L14-17-22_C++_V03.mp3|80px]]
|-
|mode11 x-over (11:13:17)<br> ||[[File:TS_xover_L11-13-17_C++_V03.mp3|80px]]
|-
|mode9 x-over (9:11:14)<br> ||[[File:TS_xover_L9-11-14_C++_V03.mp3|80px]]
|}
 
<br>

Latest revision as of 11:38, 5 February 2026

** This page is used to check out the embedding of media **


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YouTube
Overtone Scales on Stage
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YouTube
Video 1:[1] Neck of a 10-string E9-pedal steel guitar:

The fret marks guide the player to 12edo intervals, while the intervals between the strings are often tuned differently (i.e. just intervals, meantone tuning, various best-practice tunings)

Audio only

steel guitar

Link to Wikipedia source

Link with single brackets: steelguitar

Fig.2: [2] Steel bar (tonebar) used to play certain types of steel guitars.







  1. ↑ Video 1 - Webressource and licensing:
    DaveB11th, CC BY 4.0 , via Wikimedia Commons
    The original video is 3:14 minutes long. For demonstration purposes, an excerpt from 0:01 to 01:55 is shown here.
  2. ↑ Eagledj, CC BY-SA 4.0 , via Wikimedia Commons


7 Levels of Jazz Harmony

Neely-intonalism

Load video
YouTube
Adam Neely; The 7 Levels of Jazz Harmony, Intonalism [9:12], Xenharmonic [10:46]

In 2020 music educator Adam Neely picked up the term intonalism and used it in his Seven Levels of Jazz Harmony, with a somewhat different and rather ambiguous intent, where he seemed to describe the use of a tempered scale (often 12edo) for the lead melody of a piece. The current melody note at any given point in time is then treated as a reference pitch, and the current backing chord uses pure just intonation, tuned relative to the current reference pitch. In a sense this is an inverse form of adaptive just intonation where the bass line adjusts to a tempered scale and the melody and harmony notes tune to it.

To distinguish this form of intonalism from the other, you could call it Neely-intonalism.[idiosyncratic term]

Load video
YouTube
Adam Neely; The 7 Levels of Jazz Harmony,

Intonalism [9:12], Xenharmonic [10:46]


Fig.5 shows a comparison of four augmented chords that sound quite different.
Listen to the following audio examples...

Fig.5: Selection of different augmented chords
Chord Play
mode16 aug (16:20:25)
2 stacked pure 3rds
mode14 aug (14:18:22)
sounds equal to (7:9:11)
mode11 aug (11:14:17)
no, this is not major...
mode10 aug (10:13:16)
extra wide 3rd
mode8 maj (8:10:12)
pure major for reference

Fig.6 shows a comparison of five different diminished chords.

Fig.6: Selection of 5 different diminished triads
Chord Play
mode16 dim (16:19:22)
mode14 dim (14:17:20)
mode11 dim (11:13:15)
mode10 dim (10:12:14)
mode9 dim (9:11:13)

Fig.7 shows a selection of four different minor chords.

Fig.7: Selection of 4 different minor triads
Chord Play
mode26 min (26:30:39)
mode16 min (16:19:24)
mode12 min (12:14:18)
mode10 min (10:12:15)





Fig.8 shows four varieties of what I call crossover (x-over) triads, all of which are rooted at 0 cents. Crossover triads are neither diminished nor augmented. From a major perspective, x-over chords incorporate a flattened third and a raised fifth.

Fig.8: Selection of 4 different crossover (x-over) triads.
Unlike minor or major chords, crossover triads are neither diminished nor augmented and do not incorporate a pure fifth.
Chord Play
mode17 x-over (17:20:26)
mode14 x-over (14:17:22)
mode11 x-over (11:13:17)
mode9 x-over (9:11:14)


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