User:Holger Stoltenberg/embed: Difference between revisions
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Listen to the following audio examples... | Listen to the following audio examples... | ||
[[File:Fig-5 tonal space 753i aug.png|thumb|420px|right|<u>Fig.5</u>: Selection of different augmented chords]] | [[File:Fig-5 tonal space 753i aug.png|thumb|420px|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]] | |||
|} | |||
WORK IN PROGRESS Fig.6 shows a comparison of five diminished chords that sound quite different. <br> | |||
[[File:Fig-6_tonal_space_864i_dim_III.png|thumb|420px|right|<u>Fig.6</u>: Selection of 5 different diminished triads]] | |||
:{| class="wikitable" | :{| class="wikitable" | ||
!Chord | !Chord | ||
Revision as of 17:34, 27 January 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
WORK IN PROGRESS Fig.6 shows a comparison of five diminished chords that sound quite different.
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