vault backup: 2026-01-03 18:55:50
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@@ -57,7 +57,7 @@ I think when people use some version of the quote in real life
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it's usually to justify second definition [yak shaving](https://en.wiktionary.org/wiki/yak_shaving)
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(at least that's usually when I use it).
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> [!quote] Ecclesiastes 10:10 King James Version
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> [!quote] Ecclesiastes 10:10, King James Version
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> If the iron be blunt,
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> and he do not whet the edge,
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> then must he put to more strength:
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@@ -78,3 +78,12 @@ and easily interpreted as an [optimization problem](https://en.wikipedia.org/wik
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> [!quote] Brian Eno, _A Year With Swollen Appendices_, p. 67
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> A way of doing something original is by trying something so painstaking
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> that nobody else has ever bothered with it.
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## About Hypocrisy
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> [!quote] Luke 6:42, King James Version
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> Either how canst thou say to thy brother,
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> Brother, let me pull out the mote that is in thine eye,
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> when thou thyself beholdest not the beam that is in thine own eye?
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> Thou hypocrite, cast out first the beam out of thine own eye,
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> and then shalt thou see clearly to pull out the mote that is in thy brother's eye.
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@@ -0,0 +1,14 @@
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---
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id:
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aliases: []
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title: Music Theory for Banjo
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tags:
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- authorship/original
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- destiny/permanent
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- status/incomplete
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- topic/hobbies/banjo
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- type/encyclopedia
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---
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# Music Theory for Banjo
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Cross-topic of [[music-theory]] and [[banjo]].
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+17
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@@ -6,15 +6,6 @@ tags: []
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---
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# Music Theory
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```mermaid
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classDiagram
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class PitchSpelling {
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PitchLetter letter
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Accidental acc
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Octave octave
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}
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```
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## Note
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### Pitch
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@@ -28,7 +19,7 @@ if they represent the same pitch.
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#### Pitch Class
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| mod 12 | name |
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| mod 12 | name |
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| ------:| ----- |
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| 0 | C |
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| 1 | C♯/D♭ |
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@@ -60,7 +51,7 @@ There is no missing half between E and F or B and C,
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because there are no halves at all.
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C# is as legitimate a pitch class as C,
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and in some disciplines, accidentals are marked on every note,
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even "redundantly" in acknowledgement of this fact.
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even "redundantly", in acknowledgement of this fact.
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What is meant by the poor terminology is this:
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@@ -84,22 +75,21 @@ to [minor second](https://en.wikipedia.org/wiki/Minor_second)
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and [major second](https://en.wikipedia.org/wiki/Major_second) respectively,
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which is a [[ambiguity#Category Mistake|category mistake]].
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5 in 12 1 semitone increments result in augmented unisons.
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2 in 12 2 semitone increments result in diminished thirds.
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#### Accidentals
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| ascii | unicode | lilypond | Name |
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| ----- | ------- | -------- | ------------ |
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| bb | N/A | eses | double flat |
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| bb | 𝄫 | eses | double flat |
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| b | ♭ | es | flat |
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| | ♮ | | natural |
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| # | ♯ | is | sharp |
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| x | N/A | isis | double sharp |
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| x | 𝄪 | isis | double sharp |
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#### Octave
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Octave is a property of staff position, not pitch.
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B♯<sup>3</sup> is enharmonic with C<sup>4</sup>
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### Duration
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* beats
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@@ -117,7 +107,6 @@ which is a [[ambiguity#Category Mistake|category mistake]].
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Refers to the difference between two pitches.
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Intervals are notated with an en dash (C♯--E).
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### Interval Number
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Equal to the difference in staff position plus one.
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@@ -137,8 +126,6 @@ difference in semitones
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The common intervals
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| dP[^1] | dS[^2] | Short | Name |
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| ------ | ------ | ----- | -------------- |
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| 0 | 0 | P1 | Perfect unison |
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@@ -188,20 +175,20 @@ according to some sequence of intervals.
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| Key | Interval Sequence |
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| ------------- |:-----------------:|
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| Major | W–W–H–W–W–W–H |
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| Natural Minor | W–H–W–W–H–W–W |
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| Major | W--W--H--W--W--W--H |
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| Natural Minor | W--H--W--W--H--W--W |
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### Modes
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| Mode | Interval Sequence |
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| ---------- |:-----------------:|
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| Ionian | W–W–H–W–W–W–H |
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| Dorian | W–H–W–W–W–H–W |
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| Phrygian | H–W–W–W–H–W–W |
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| Lydian | W–W–W–H–W–W–H |
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| Mixolydian | W–W–H–W–W–H–W |
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| Aeolian | W–H–W–W–H–W–W |
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| Locrian | H–W–W–H–W–W–W |
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| Ionian | W--W--H--W--W--W--H |
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| Dorian | W--H--W--W--W--H--W |
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| Phrygian | H--W--W--W--H--W--W |
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| Lydian | W--W--W--H--W--W--H |
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| Mixolydian | W--W--H--W--W--H--W |
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| Aeolian | W--H--W--W--H--W--W |
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| Locrian | H--W--W--H--W--W--W |
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### Scale
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@@ -218,4 +205,4 @@ in ascending or descending order.
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* degree 6: submediant
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* degree 7: called the **subtonic** if it is 2 semitones/"a whole step"/a major second below the tonic
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or the **leading tone** if it is 1 semitone/"a half step"/a minor second below the tonic
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* degree 8: tonic
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* degree 8: tonic
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