User:Holger Stoltenberg/embed: Difference between revisions

(4 intermediate revisions by the same user not shown)

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|mode10 dim (10:12:14) ||[[File:TS_dim_L10-12-14_Eb_V03.mp3|80px]]

|-

|~~mode8~~ dim (9:11:13) ||[[File:TS_dim_L9-11-13_Eb_V03.mp3|80px]]

|mode9 dim (9:11:13) ||[[File:TS_dim_L9-11-13_Eb_V03.mp3|80px]]

|}

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~~'''WORK IN PROGRESS'''~~ Fig.8 shows four varieties of what I call a ''crossover'' ~~(xover) triad~~, all rooted at ~~the same pitch of~~ 0 cents. Crossover triads are neither diminished nor augmented. From a major ~~point of view~~, ~~xover~~ chords incorporate a flattened third and a ~~sharp~~ fifth.

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.

[[File:Fig-~~7_tonal_space_1051i_min_02~~.png|thumb|430px|right|Fig.7: Selection of 4 different minor triads]]

[[File:Fig-8_tonal_space_867j_x-over_03.png|thumb|430px|right|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.]]

:{| class="wikitable"

!Chord

!Play

|-

|~~mode26 min~~ (26:30:39) ||[[File:~~TS_min_L26_D_V01~~.mp3|80px]]

|mode17 x-over (17:20:26) ||[[File:TS_xover_L17-20-26_C++_V03.mp3|80px]]

|-

|~~mode16 min~~ (16:19:24) ||[[File:~~TS_min_L16_D_V01~~.mp3|80px]]

|mode14 x-over (14:17:22) ||[[File:TS_xover_L14-17-22_C++_V03.mp3|80px]]

|-

|~~mode12 min~~ (12:14:18) ||[[File:~~TS_min_L12_D_V01~~.mp3|80px]]

|mode11 x-over (11:13:17) ||[[File:TS_xover_L11-13-17_C++_V03.mp3|80px]]

|-

|~~mode10 min~~ (10:12:15) ||[[File:~~TS_min_L10_D_V01~~.mp3|80px]]

|mode9 x-over (9:11:14) ||[[File:TS_xover_L9-11-14_C++_V03.mp3|80px]]

|}

@@ Line 69: / Line 69: @@
 |mode10 dim (10:12:14)<br> ||[[File:TS_dim_L10-12-14_Eb_V03.mp3|80px]]
 |-
-|mode8 dim (9:11:13)<br>   ||[[File:TS_dim_L9-11-13_Eb_V03.mp3|80px]]
+|mode9 dim (9:11:13)<br>   ||[[File:TS_dim_L9-11-13_Eb_V03.mp3|80px]]
 |}
@@ Line 88: / Line 88: @@
 <br><br><br><br>
-'''WORK IN PROGRESS''' Fig.8 shows four varieties of what I call a ''crossover'' (xover) triad, all rooted at the same pitch of 0 cents. Crossover triads are neither diminished nor augmented. From a major point of view, xover chords incorporate a flattened third and a sharp fifth. <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-7_tonal_space_1051i_min_02.png|thumb|430px|right|<u>Fig.7</u>: Selection of 4 different minor triads]]
+[[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
 |-
-|mode26 min (26:30:39)<br> ||[[File:TS_min_L26_D_V01.mp3|80px]]
+|mode17 x-over (17:20:26)<br> ||[[File:TS_xover_L17-20-26_C++_V03.mp3|80px]]
 |-
-|mode16 min (16:19:24)<br> ||[[File:TS_min_L16_D_V01.mp3|80px]]
+|mode14 x-over (14:17:22)<br> ||[[File:TS_xover_L14-17-22_C++_V03.mp3|80px]]
 |-
-|mode12 min (12:14:18)<br> ||[[File:TS_min_L12_D_V01.mp3|80px]]
+|mode11 x-over (11:13:17)<br> ||[[File:TS_xover_L11-13-17_C++_V03.mp3|80px]]
 |-
-|mode10 min (10:12:15)<br> ||[[File:TS_min_L10_D_V01.mp3|80px]]
+|mode9 x-over (9:11:14)<br> ||[[File:TS_xover_L9-11-14_C++_V03.mp3|80px]]
 |}
 <br>