DaveB11th, [https://creativecommons.org/licenses/by/4.0 CC BY 4.0 ], via [https://commons.wikimedia.org/wiki/File:Pedal_steel_played_with_reverb.ogv Wikimedia Commons]<br>
The original video is 3:14 minutes long. For demonstration purposes, an excerpt from 0:01 to 01:55 is shown here.
The original video is 3:14 minutes long. For demonstration purposes, an excerpt from 0:01 to 01:55 is shown here.
</ref>
</ref> Neck of a 10-string E9-pedal steel guitar:<br>
Neck of a 10-string E9-pedal steel guitar:<br>
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)|frame|start=1&end=115}}
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)|frame|start=1&end=115}}
==== Audio only ====
[[File:Pedal steel played with reverb.ogg|thumb|center|steel guitar]]
[[File:Pedal steel played with reverb.ogg|thumb|A song played on an E9 pedal |steel guitar]]
==== Link to Wikipedia source ====
Link with single brackets: [https://en.wikipedia.org/wiki/File:Pedal_steel_played_with_reverb.ogv steelguitar]
[[File:Steel bar (tonebar) used in playing steel guitar.jpg|thumb|180px|<u>Fig.2</u>: <ref>Eagledj, [https://creativecommons.org/licenses/by-sa/4.0 CC BY-SA 4.0 ], via [https://commons.wikimedia.org/wiki/File:Steel_bar_(tonebar)_used_in_playing_steel_guitar.jpg Wikimedia Commons]</ref> Steel bar (tonebar) used to play certain types of steel guitars.]]<br>
<br><br><br><br>
<references/>
<br>
==== 7 Levels of Jazz Harmony ====
Link with single brackets: [https://en.wikipedia.org/wiki/File:Pedal_steel_played_with_reverb.ogv steelguitar]
==Neely-intonalism==
{{#ev:youtube|lz3WR-F_pnM|372|right|
[[Adam Neely]]; The 7 Levels of Jazz Harmony, <br> '''Intonalism''' [9:12], '''Xenharmonic''' [10:46]|frame|start=552&end=721}}
In 2020 music educator [[Adam Neely]] picked up the term ''intonalism'' and used it in his [[7th Level of Jazz Harmony|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}}
<br><br>
{{#ev:youtube|lz3WR-F_pnM||center|
[[Adam Neely]]; The 7 Levels of Jazz Harmony, <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.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.]]
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)
Fig.2: [2] Steel bar (tonebar) used to play certain types of steel guitars.
↑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.
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]
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.
_used_in_playing_steel_guitar.jpg)
_used_in_playing_steel_guitar.jpg){kind=link}
