diff --git a/favorite-quotes.md b/favorite-quotes.md
index 868f006..704763c 100644
--- a/favorite-quotes.md
+++ b/favorite-quotes.md
@@ -57,7 +57,7 @@ I think when people use some version of the quote in real life
it's usually to justify second definition [yak shaving](https://en.wiktionary.org/wiki/yak_shaving)
(at least that's usually when I use it).
-> [!quote] Ecclesiastes 10:10 King James Version
+> [!quote] Ecclesiastes 10:10, King James Version
> If the iron be blunt,
> and he do not whet the edge,
> then must he put to more strength:
@@ -78,3 +78,12 @@ and easily interpreted as an [optimization problem](https://en.wikipedia.org/wik
> [!quote] Brian Eno, _A Year With Swollen Appendices_, p. 67
> A way of doing something original is by trying something so painstaking
> that nobody else has ever bothered with it.
+
+## About Hypocrisy
+
+> [!quote] Luke 6:42, King James Version
+> Either how canst thou say to thy brother,
+> Brother, let me pull out the mote that is in thine eye,
+> when thou thyself beholdest not the beam that is in thine own eye?
+> Thou hypocrite, cast out first the beam out of thine own eye,
+> and then shalt thou see clearly to pull out the mote that is in thy brother's eye.
\ No newline at end of file
diff --git a/music-theory-for-banjo.md b/music-theory-for-banjo.md
new file mode 100644
index 0000000..a9d702f
--- /dev/null
+++ b/music-theory-for-banjo.md
@@ -0,0 +1,14 @@
+---
+id:
+aliases: []
+title: Music Theory for Banjo
+tags:
+ - authorship/original
+ - destiny/permanent
+ - status/incomplete
+ - topic/hobbies/banjo
+ - type/encyclopedia
+---
+# Music Theory for Banjo
+
+Cross-topic of [[music-theory]] and [[banjo]].
diff --git a/music-theory.md b/music-theory.md
index 2a2c725..a028ae5 100644
--- a/music-theory.md
+++ b/music-theory.md
@@ -6,15 +6,6 @@ tags: []
---
# Music Theory
-```mermaid
-classDiagram
- class PitchSpelling {
- PitchLetter letter
- Accidental acc
- Octave octave
- }
-```
-
## Note
### Pitch
@@ -28,7 +19,7 @@ if they represent the same pitch.
#### Pitch Class
-| mod 12 | name |
+| mod 12 | name |
| ------:| ----- |
| 0 | C |
| 1 | C♯/D♭ |
@@ -60,7 +51,7 @@ There is no missing half between E and F or B and C,
because there are no halves at all.
C# is as legitimate a pitch class as C,
and in some disciplines, accidentals are marked on every note,
-even "redundantly" in acknowledgement of this fact.
+even "redundantly", in acknowledgement of this fact.
What is meant by the poor terminology is this:
@@ -84,22 +75,21 @@ to [minor second](https://en.wikipedia.org/wiki/Minor_second)
and [major second](https://en.wikipedia.org/wiki/Major_second) respectively,
which is a [[ambiguity#Category Mistake|category mistake]].
-
-5 in 12 1 semitone increments result in augmented unisons.
-2 in 12 2 semitone increments result in diminished thirds.
-
#### Accidentals
| ascii | unicode | lilypond | Name |
| ----- | ------- | -------- | ------------ |
-| bb | N/A | eses | double flat |
+| bb | 𝄫 | eses | double flat |
| b | ♭ | es | flat |
| | ♮ | | natural |
| # | ♯ | is | sharp |
-| x | N/A | isis | double sharp |
+| x | 𝄪 | isis | double sharp |
#### Octave
+Octave is a property of staff position, not pitch.
+B♯3 is enharmonic with C4
+
### Duration
* beats
@@ -117,7 +107,6 @@ which is a [[ambiguity#Category Mistake|category mistake]].
Refers to the difference between two pitches.
Intervals are notated with an en dash (C♯--E).
-
### Interval Number
Equal to the difference in staff position plus one.
@@ -137,8 +126,6 @@ difference in semitones
The common intervals
-
-
| dP[^1] | dS[^2] | Short | Name |
| ------ | ------ | ----- | -------------- |
| 0 | 0 | P1 | Perfect unison |
@@ -188,20 +175,20 @@ according to some sequence of intervals.
| Key | Interval Sequence |
| ------------- |:-----------------:|
-| Major | W–W–H–W–W–W–H |
-| Natural Minor | W–H–W–W–H–W–W |
+| Major | W--W--H--W--W--W--H |
+| Natural Minor | W--H--W--W--H--W--W |
### Modes
| Mode | Interval Sequence |
| ---------- |:-----------------:|
-| Ionian | W–W–H–W–W–W–H |
-| Dorian | W–H–W–W–W–H–W |
-| Phrygian | H–W–W–W–H–W–W |
-| Lydian | W–W–W–H–W–W–H |
-| Mixolydian | W–W–H–W–W–H–W |
-| Aeolian | W–H–W–W–H–W–W |
-| Locrian | H–W–W–H–W–W–W |
+| Ionian | W--W--H--W--W--W--H |
+| Dorian | W--H--W--W--W--H--W |
+| Phrygian | H--W--W--W--H--W--W |
+| Lydian | W--W--W--H--W--W--H |
+| Mixolydian | W--W--H--W--W--H--W |
+| Aeolian | W--H--W--W--H--W--W |
+| Locrian | H--W--W--H--W--W--W |
### Scale
@@ -218,4 +205,4 @@ in ascending or descending order.
* degree 6: submediant
* degree 7: called the **subtonic** if it is 2 semitones/"a whole step"/a major second below the tonic
or the **leading tone** if it is 1 semitone/"a half step"/a minor second below the tonic
-* degree 8: tonic
\ No newline at end of file
+* degree 8: tonic