User:Holger Stoltenberg/embed: Difference between revisions
more dim chords added (Fig.6) |
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Fig.5 shows a comparison of four augmented chords that sound quite different. <br> | Fig.5 shows a comparison of four augmented chords that sound quite different. <br> | ||
Listen to the following audio examples... | Listen to the following audio examples... | ||
[[File:Fig-5 tonal space 753i aug.png|thumb| | [[File:Fig-5 tonal space 753i aug.png|thumb|430px|right|<u>Fig.5</u>: Selection of different augmented chords]] | ||
:{| class="wikitable" | :{| class="wikitable" | ||
!Chord | !Chord | ||
| Line 56: | Line 56: | ||
Fig.6 shows a comparison of five different diminished chords. <br> | Fig.6 shows a comparison of five different diminished chords. <br> | ||
[[File:Fig-6_tonal_space_864i_dim_III.png|thumb| | [[File:Fig-6_tonal_space_864i_dim_III.png|thumb|430px|right|<u>Fig.6</u>: Selection of 5 different diminished triads]] | ||
:{| class="wikitable" | :{| class="wikitable" | ||
!Chord | !Chord | ||
| Line 69: | Line 69: | ||
|mode10 dim (10:12:14)<br> ||[[File:TS_dim_L10-12-14_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.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-8_tonal_space_867j_x-over_03.png|thumb|430px|right|<u>Fig.8</u>: Selection of 4 different ''crossover (x-over)'' triads.<br> | |||
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> | <br> | ||
Latest revision as of 11:38, 5 February 2026
** This page is used to check out the embedding of media **
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
Link to Wikipedia source
Link with single brackets: steelguitar
_used_in_playing_steel_guitar.jpg)
- ↑ 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. - ↑ Eagledj, CC BY-SA 4.0 , via Wikimedia Commons
_used_in_playing_steel_guitar.jpg){kind=link}
7 Levels of Jazz Harmony
Neely-intonalism
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]
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...
Chord Play mode16 aug (16:20:25)
2 stacked pure 3rdsmode14 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 3rdmode8 maj (8:10:12)
pure major for reference
Fig.6 shows a comparison of five different diminished chords.
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.
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.
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)