* homophony::
* hook::
* hymn meter::
+* incomplete dominant seventh chord::
* interval::
* inversion::
* inverted interval::
\context {
\Score
\override SpacingSpanner
- #'base-shortest-duration = #(ly:make-moment 1 32)
+ #'base-shortest-duration = #(ly:make-moment 1/32)
}
}
}
S: ackord,
FI: sointu.
-Three or more tones sounding simultaneously. In traditional European music
+Two or more tones sounding simultaneously. In traditional European music
the base chord is a @emph{triad} consisting of two thirds. @emph{Major}
(major + minor third) as well as @emph{minor} (minor + major third) chords
may be extended with more thirds. Four-tone @emph{seventh chords} and
the middle third means their quality is ambivalent -- neither major nor
minor.
-@lilypond[quote,notime,line-width=13.0\cm]
+@lilypond[quote,notime]
<<
\new Staff {
\relative c'' {
"minor "
"diminished "
"augmented "
- "seventh-chord "
- "ninth-chord"
+ "seventh "
+ "ninth"
}
>>
@end lilypond
\context {
\Score
\override SpacingSpanner
- #'base-shortest-duration = #(ly:make-moment 1 1)
+ #'base-shortest-duration = #(ly:make-moment 1/1)
\override NonMusicalPaperColumn
#'line-break-system-details = #'((alignment-distances . (3 3)))
\override BarLine #'stencil = ##f
\context {
\Score
\override SpacingSpanner
- #'base-shortest-duration = #(ly:make-moment 2 1)
+ #'base-shortest-duration = #(ly:make-moment 2/1)
\override NonMusicalPaperColumn
#'line-break-system-details = #'((alignment-distances . (3 3)))
\override BarLine #'stencil = ##f
\context {
\Score
\override SpacingSpanner #'base-shortest-duration =
- #(ly:make-moment 2 1)
+ #(ly:make-moment 2/1)
\override NonMusicalPaperColumn
#'line-break-system-details = #'((alignment-distances . (3 3)))
\override BarLine #'stencil = ##f
scale), subdominant (S, the chord on the fourth note), and dominant (D, the
chord on the fifth note). Others are considered to be variants of the base
chords.
-
-TODO: what does the @q{p} mean in Sp, Dp, Tp?
+A few examples among many others are the tonic, subdominant or dominant of
+the parallel minor scale, or the incomplete dominant seventh chord.
@lilypond[quote,notime,relative=2,line-width=13.0\cm]
+#(define-markup-command (diagonal-stroke layout props arg)
+ (markup?)
+ #:category font
+ #:properties ((font-size 0) (thickness 1.5) (extension 0.07))
+ (let*
+ ((thick (* (magstep font-size)
+ (ly:output-def-lookup layout 'line-thickness)))
+ (underline-thick (* thickness thick))
+ (markup (interpret-markup layout props arg))
+ (x1 (car (ly:stencil-extent markup X)))
+ (x2 (cdr (ly:stencil-extent markup X)))
+ (y1 (car (ly:stencil-extent markup Y)))
+ (y2 (cdr (ly:stencil-extent markup Y)))
+ (dx (* extension (- x2 x1)))
+ (dy (* extension (- y2 y1)))
+ (line (make-line-stencil underline-thick
+ (- x1 dx) (- y1 dy)
+ (+ x2 dx) (+ y2 dy))))
+ (ly:stencil-add markup line)))
<<
{
<g e c>1 <a f d> <b g e>
}
\lyrics {
T Sp Dp S D Tp
- \markup { D \translate #'(-2 . 0) | }
+ \markup { \concat { \diagonal-stroke D \super "7" } }
}
>>
@end lilypond
@seealso
-No cross-references.
+@ref{dominant}, @ref{incomplete dominant seventh chord},
+@ref{subdominant}, @ref{tonic}.
@node G
@lilypond[quote,notime]
\relative c'' {
\override Staff.Clef #'full-size-change = ##t
- \set Score.proportionalNotationDuration = #(ly:make-moment 1 8)
+ \set Score.proportionalNotationDuration = #(ly:make-moment 1/8)
\clef french
g1
\clef treble
No cross-references.
+@node incomplete dominant seventh chord
+@section incomplete dominant seventh chord
+
+ES: ?,
+I: ?,
+F: ?,
+D: verkürzter Dominantseptakkord,
+NL: ?,
+DK: ?,
+S: ?,
+FI: ?.
+
+A dominant seventh chord where the root tone is removed.
+The remaining three tones build a diminished triad.
+
+@seealso
+@ref{chord}, @ref{dominant seventh chord}, @ref{functional harmony}.
+
+
@node interval
@section interval
and are called @emph{tritonus} because they consist of three whole tones.
The addition of such two intervals forms an octave.
-@lilypond[quote,notime,line-width=13.0\cm]
+@lilypond[quote]
<<
\context Voice \relative c'' {
% Prime or unison
@lilypond[quote,line-width=13.0\cm]
\relative c'' {
\time 4/4
- \times 2/3 {g8_"triplets" g g} g4 g8 g g4 \bar "||"
- \times 2/5 {g8_"quintuplets" g g g g} g4 g8 g g4 \bar "||"
+ \tuplet 3/2 {g8_"triplets" g g} g4 g8 g g4 \bar "||"
+ \tuplet 5/2 {g8_"quintuplets" g g g g} g4 g8 g g4 \bar "||"
}
@end lilypond
@lilypond[quote,line-width=13.0\cm]
\relative c'' {
\time 3/4
- \times 3/2 {g4_"duplets" g} |
+ \tuplet 2/3 {g4_"duplets" g} |
g4 g g \bar "||"
- \times 6/4 {g8_"quadruplets" g g g} |
+ \tuplet 4/6 {g8_"quadruplets" g g g} |
g8 g g g g4 \bar "||"
}
@end lilypond
}
\relative c'' {
c2. c32 b c b c b c b | c1
- c2. b32 c b c \times 4/5 { b c b c b } | c1
+ c2. b32 c b c \tuplet 5/4 { b c b c b } | c1
}
>>
@end lilypond