diff --git a/.obsidian/appearance.json b/.obsidian/appearance.json index 04bdf16..b6d792d 100644 --- a/.obsidian/appearance.json +++ b/.obsidian/appearance.json @@ -3,7 +3,7 @@ "monospaceFontFamily": "", "interfaceFontFamily": "", "cssTheme": "Typewriter", - "theme": "obsidian", + "theme": "moonstone", "baseFontSize": 16, "enabledCssSnippets": [ "tables" diff --git a/.obsidian/plugins/lilypond/data.json b/.obsidian/plugins/lilypond/data.json index a4e61a8..f0424d8 100644 --- a/.obsidian/plugins/lilypond/data.json +++ b/.obsidian/plugins/lilypond/data.json @@ -1,3 +1,3 @@ { - "path": "lilypond --svg" + "path": "/bin/lilypond" } \ No newline at end of file diff --git a/.obsidian/themes/Typewriter/manifest.json b/.obsidian/themes/Typewriter/manifest.json index db44858..6dcde29 100644 --- a/.obsidian/themes/Typewriter/manifest.json +++ b/.obsidian/themes/Typewriter/manifest.json @@ -1,6 +1,6 @@ { "name": "Typewriter", - "version": "2.2.3", + "version": "2.2.4", "minAppVersion": "0.16.0", "author": "crashmoney", "authorUrl": "https://github.com/crashmoney" diff --git a/.obsidian/themes/Typewriter/theme.css b/.obsidian/themes/Typewriter/theme.css index b7e2a9d..bbeb435 100644 --- a/.obsidian/themes/Typewriter/theme.css +++ b/.obsidian/themes/Typewriter/theme.css @@ -256,7 +256,7 @@ body { --text-normal: rgb(197, 184, 161); --text-muted: hsl(var(--base-h), var(--base-s), calc(var(--base-d) + 45%)); --text-faint: hsl(var(--base-h), var(--base-s), calc(var(--base-d) + 47%)); - --text-error: #800000; + --text-error: rgb(230,60,60); --text-error-hover: #990000; --text-highlight-bg: rgba(255, 177, 80, 0.3); diff --git a/2025-12-22.md b/2025-12-22.md new file mode 100644 index 0000000..dd715f8 --- /dev/null +++ b/2025-12-22.md @@ -0,0 +1,15 @@ +--- +id: +aliases: [] +title: "2025-12-22" +tags: + - authorship/original + - destiny/permanent + - status/draft + - type/daily +--- +# 2025-12-22 + +## 2025-12-22 08:51 + +[[music-theory]] \ No newline at end of file diff --git a/music-theory.md b/music-theory.md new file mode 100644 index 0000000..c8e668a --- /dev/null +++ b/music-theory.md @@ -0,0 +1,221 @@ +--- +id: +aliases: [] +title: Music Theory +tags: [] +--- +# Music Theory + +```mermaid +classDiagram + class PitchSpelling { + PitchLetter letter + Accidental acc + Octave octave + } +``` + +## Note + +### Pitch + +Refers to the human perception of frequency. +It is usually only appropriate to prefer "pitch" over "note" +when one is specifically referring to frequency. + +Notes are **enharmonic** (or **enharmonically equivalent**) +if they represent the same pitch. + +#### Pitch Class + +| mod 12 | name | +| ------:| ----- | +| 0 | C | +| 1 | C♯/D♭ | +| 2 | D | +| 3 | D♯/E♭ | +| 4 | E | +| 5 | F | +| 6 | F♯/G♭ | +| 7 | G | +| 8 | G♯/A♭ | +| 9 | A | +| 10 | A♯/B♭ | +| 11 | B | + +[Modular arithmetic](https://en.wikipedia.org/wiki/Modular_arithmetic) + +> [!important] +> Adjacent sharps and flats (e.g. C♯ and D♭) +> only represent the _same_ pitch in [equal temperament tuning](https://en.wikipedia.org/wiki/Equal_temperament), +> but they are still considered enharmonic in others. + +### Note: Semitones and Steps + +It is common to speak of whole or half steps between pitches, +but I find this confusing in a way music educators ought to better anticipate. +In equal temperament tuning, all pitch classes are--- +according to human perception---equally spaced. +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. + +What is meant by the poor terminology is this: + +* "half step" = 1 semitone +* "whole step" = 2 semitones + +There is no more nuance, E--F is also a "half step". + +```lily +\score{ +a~ ais +b~ c +\layout {} +} +``` + +This is an unhelpful convention. +Inexcusable, though, is conflating semitone increments with intervals. +Wikipedia music theory articles frequently link "half step" and "whole step" +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 | +| b | ♭ | es | flat | +| | ♮ | | natural | +| # | ♯ | is | sharp | +| x | N/A | isis | double sharp | + +#### Octave + +### Duration + +* beats +* speed + +### Intensity + +* pianissimo +* piano +* forte +* fortissimo + +## Interval + +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. + +> [!important] +> The number of an interval is _not_ related to the difference in pitch. +> F♯ and G♭ are enharmonic, but F♯--G♭ is a second. +> F and F♯ are a semitone apart, but F--F♯ is a first. + +### Interval Quality + +An interval of unspecified quality is called "generic". + +difference in semitones + +#### Perfect, Major, and Minor Intervals + +The common intervals + + + +| dP[^1] | dS[^2] | Short | Name | +| ------ | ------ | ----- | -------------- | +| 0 | 0 | P1 | Perfect unison | +| 1 | 1 | m2 | Minor second | +| 1 | 2 | M2 | Major second | +| 2 | 3 | m3 | Minor third | +| 2 | 4 | M3 | Major third | +| 3 | 5 | P4 | Perfect fourth | +| 4 | 7 | P5 | Perfect fifth | +| 5 | 8 | m6 | Minor sixth | +| 5 | 9 | M6 | Major sixth | +| 6 | 10 | m7 | Minor seventh | +| 6 | 11 | M7 | Major seventh | +| 7 | 12 | P8 | Perfect octave | + +[^1]: difference in staff position (interval number) +[^2]: difference in semitones + +#### Augmented and Diminished Intervals + +| dP[^1] | dS[^2] | Short | Name | +| ------ | ------ | ----- | ------------------ | +| 0 | 1 | A1 | Augmented unison | +| 1 | 3 | A2 | Augmented second | +| 2 | 5 | A3 | Augmented third | +| 3 | 6 | A4 | Augmented fourth | +| 4 | 8 | A5 | Augmented fifth | +| 5 | 10 | A6 | Augmented sixth | +| 6 | 12 | A7 | Augmented seventh | +| 1 | 0 | d2 | Diminished second | +| 2 | 2 | d3 | Diminished third | +| 3 | 4 | d4 | Diminished fourth | +| 4 | 6 | d5 | Diminished fifth | +| 5 | 7 | d6 | Diminished sixth | +| 6 | 9 | d7 | Diminished seventh | +| 7 | 11 | d8 | Diminished octave | + +### Compound Interval + +A **compound interval** is one greater than number 8. + +## Key + +A **key** is a [[set-theory|set]] of pitch classes +created by modifying a starting pitch class (the **tonic**) +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 | + +### 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 | + +### Scale + +A **scale** is a progression of the elements of a key +in ascending or descending order. + +### Scale Degrees + +* degree 1: tonic +* degree 2: supertonic +* degree 3: mediant +* degree 4: subdominant +* degree 5: dominant +* 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