User:Holger Stoltenberg/embed: Difference between revisions
Integration of Fig.6 - audio example files have not yet been updated |
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|mode14 aug (14:18:22)<br>sounds equal to (7:9:11)||[[File:TS_aug_L14_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]] | ||
Revision as of 11:29, 29 January 2026
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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
WORK IN PROGRESS Fig.6 shows a comparison of five diminished chords that sound quite different.
Chord Play mode16 dim (16:19:22) 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 3rdmode8 maj (8:10:12)
pure major for reference