Harmony - Knowledge (XXG)

55: 1028:, or first-degree note, can be any of the 12 notes (pitch classes) of the chromatic scale. All the other notes fall into place. For example, when C is the tonic, the fourth degree or subdominant is F. When D is the tonic, the fourth degree is G. While the note names remain constant, they may refer to different scale degrees, implying different intervals with respect to the tonic. The great power of this fact is that any musical work can be played or sung in any key. It is the same piece of music, as long as the intervals are the same—thus transposing the melody into the corresponding key. When the intervals surpass the perfect Octave (12 semitones), these intervals are called 1231:

a series of consonant chords that lead smoothly to the dissonant chord. In this way the composer ensures introducing tension smoothly, without disturbing the listener. Once the piece reaches its sub-climax, the listener needs a moment of relaxation to clear up the tension, which is obtained by playing a consonant chord that resolves the tension of the previous chords. The clearing of this tension usually sounds pleasant to the listener, though this is not always the case in late-nineteenth century music, such as

171:, a dissonant chord (chord with tension) "resolves" to a consonant chord. Harmonization usually sounds pleasant when there is a balance between consonance and dissonance. This occurs when there is a balance between "tense" and "relaxed" moments. Dissonance is an important part of harmony when it can be resolved and contribute to the composition of music as a whole. A misplayed note or any sound that is judged to detract from the whole composition can be described as disharmonious rather than dissonant. 338:. These works were created and performed in cathedrals, and made use of the resonant modes of their respective cathedrals to create harmonies. As polyphony developed, however, the use of parallel intervals was slowly replaced by the English style of consonance that used thirds and sixths. The English style was considered to have a sweeter sound, and was better suited to polyphony in that it offered greater linear flexibility in part-writing. 404: 459:, "The term is meant to signify that sonorities are linked one after the other without giving rise to the impression of a goal-directed development. A first chord forms a 'progression' with a second chord, and a second with a third. But the former chord progression is independent of the later one and vice versa." Coordinate harmony follows direct (adjacent) relationships rather than indirect as in subordinate. 342: 1246: 1257:, but an equally tempered major third is 400 cents and a Pythagorean third with a ratio of 81:64 is 408 cents. Measurements of frequencies in good performances confirm that the size of the major third varies across this range and can even lie outside it without sounding out of tune. Thus, there is no simple connection between frequency ratios and harmonic function. 893:, with each step only involving a change in one note's accidental. As such, additional accidentals are free to convey more nuanced information in the context of a passage of music and the other notes that make it up. Even when working outside diatonic contexts, it is convention, if possible, to use each letter in the alphabet only once in describing a scale. 385: 4031: 4174: 128:, a concept whose precise definition has varied throughout history, but is often associated with simple mathematical ratios between coincident pitch frequencies. In the physiological approach, consonance is viewed as a continuous variable measuring the human brain's ability to 'decode' aural sensory input. Culturally, 305:

improvisation has been uncommon since the end of the 19th century. Where it does occur in Western music (or has in the past), the improvisation either embellishes pre-notated music or draws from musical models previously established in notated compositions, and therefore uses familiar harmonic schemes.

1298:. These differences may not be readily apparent in tempered contexts but can explain why major triads are generally more prevalent than minor triads and major-minor sevenths are generally more prevalent than other sevenths (in spite of the dissonance of the tritone interval) in mainstream tonal music. 1347:

Familiarity also contributes to the perceived harmony of an interval. Chords that have often been heard in musical contexts tend to sound more consonant. This principle explains the gradual historical increase in harmonic complexity of Western music. For example, around 1600 unprepared seventh chords

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usually sounds pleasant to the ear when there is a balance between the consonant and dissonant sounds. In simple words, that occurs when there is a balance between "tense" and "relaxed" moments. For this reason, usually tension is 'prepared' and then 'resolved', where preparing tension means to place

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Other types of harmony are based upon the intervals of the chords used in that harmony. Most chords in western music are based on "tertian" harmony, or chords built with the interval of thirds. In the chord C Major7, C–E is a major third; E–G is a minor third; and G to B is a major third. Other types

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While the entire history of music theory appears to depend on just such a distinction between harmony and counterpoint, it is no less evident that developments in the nature of musical composition down the centuries have presumed the interdependence – at times amounting to integration, at other times

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and major and minor third and sixth, and their compound forms. An interval is referred to as "perfect" when the harmonic relationship is found in the natural overtone series (namely, the unison 1:1, octave 2:1, fifth 3:2, and fourth 4:3). The other basic intervals (second, third, sixth, and seventh)

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These numbers don't "add" together because intervals are numbered inclusive of the root note (e.g. one tone up is a 2nd), so the root is counted twice by adding them. Apart from this categorization, intervals can also be divided into consonant and dissonant. As explained in the following paragraphs,

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In Western culture the musics that are most dependent on improvisation, such as jazz, have traditionally been regarded as inferior to art music, in which pre-composition is considered paramount. The conception of musics that live in oral traditions as something composed with the use of improvisatory

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Yet the evolution of harmonic practice and language itself, in Western art music, is and was facilitated by this process of prior composition, which permitted the study and analysis by theorists and composers of individual pre-constructed works in which pitches (and to some extent rhythms) remained

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to determine the relationship between small integer ratios and consonant notes (e.g., 1:2 describes an octave relationship, which is a doubling of frequency). While identifying as a Pythagorean, Aristoxenus claims that numerical ratios are not the ultimate determinant of harmony; instead, he claims

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The creation and destruction of harmonic and 'statistical' tensions is essential to the maintenance of compositional drama. Any composition (or improvisation) which remains consistent and 'regular' throughout is, for me, equivalent to watching a movie with only 'good guys' in it, or eating cottage

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When adjacent harmonics in complex tones interfere with one another, they create the perception of what is known as "beating" or "roughness". These precepts are closely related to the perceived dissonance of chords. To interfere, partials must lie within a critical bandwidth, which is a measure of

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Continuing to stack thirds on top of a seventh chord produces extensions, and brings in the "extended tensions" or "upper tensions" (those more than an octave above the root when stacked in thirds), the ninths, elevenths, and thirteenths. This creates the chords named after them. (Except for dyads

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The effect of dissonance is perceived relatively within musical context: for example, a major seventh interval alone (i.e., C up to B) may be perceived as dissonant, but the same interval as part of a major seventh chord may sound relatively consonant. A tritone (the interval of the fourth step to

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that has become ubiquitous in Western music, each interval is created using steps of the same size, producing harmonic relations marginally 'out of tune' from pure frequency ratios as explored by the ancient Greeks. 12-tone equal temperament evolved as a compromise from earlier systems where all

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progressions – as with notated Western music. This contrasting emphasis (with regard to Indian music in particular) manifests itself in the different methods of performance adopted: in Indian Music, improvisation takes a major role in the structural framework of a piece, whereas in Western Music

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Current dictionary definitions, while attempting to give concise descriptions, often highlight the ambiguity of the term in modern use. Ambiguities tend to arise from either aesthetic considerations (for example the view that only pleasing concords may be harmonious) or from the point of view of

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In many types of music, notably baroque, romantic, modern and jazz, chords are often augmented with "tensions". A tension is an additional chord member that creates a relatively dissonant interval in relation to the bass. Following the tertian practice of building chords by stacking thirds, the

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for chords built with other intervals). Depending on the size of the intervals being stacked, different qualities of chords are formed. In popular and jazz harmony, chords are named by their root plus various terms and characters indicating their qualities. To keep the nomenclature as simple as

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exhibit peaks in activity which correspond to the frequency components of a tonal stimulus. The extent to which FFRs accurately represent the harmonic information of a chord is called neural salience, and this value is correlated with behavioral ratings of the perceived pleasantness of chords.

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harmony, so named after the interval of a third, the members of chords are found and named by stacking intervals of the third, starting with the "root", then the "third" above the root, and the "fifth" above the root (which is a third above the third), etc. (Chord members are named after their

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It was not that counterpoint was supplanted by harmony (Bach's tonal counterpoint is surely no less polyphonic than Palestrina's modal writing) but that an older type both of counterpoint and of vertical technique was succeeded by a newer type. And harmony comprises not only the ("vertical")

285:(or fourth interval) that does not alter in pitch throughout the course of a composition. Pitch simultaneity in particular is rarely a major consideration. Nevertheless, many other considerations of pitch are relevant to the music, its theory and its structure, such as the complex system of 1181:

Depending on the widths of the individual thirds stacked to build the chord, the interval between the root and the seventh of the chord may be major, minor, or diminished. (The interval of an augmented seventh reproduces the root, and is therefore left out of the chordal nomenclature.) The

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simplest first tension is added to a triad by stacking, on top of the existing root, third, and fifth, another third above the fifth, adding a new, potentially dissonant member a seventh away from the root (called the "seventh" of the chord) producing a four-note chord called a "

901:. Even if identical in isolation, different spellings of enharmonic notes provide meaningful context when reading and analyzing music. For example, even though E and F♭ are enharmonic, the former is considered to be a major third up from C, while F♭ is considered to be a 93:

are identified, defined, and categorized in the development of these theories. Harmony is broadly understood to involve both a "vertical" dimension (frequency-space) and a "horizontal" dimension (time-space), and often overlaps with related musical concepts such as

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Tonal fusion contributes to the perceived consonance of a chord, describing the degree to which multiple pitches are heard as a single, unitary tone. Chords which have more coinciding partials (frequency components) are perceived as more consonant, such as the

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is considered a harmonic interval, just like a fifth or a third, but is unique in that it is two identical notes produced together. The unison, as a component of harmony, is important, especially in orchestration. In pop music, unison singing is usually called

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In organ registers, certain harmonic interval combinations and chords are activated by a single key. The sounds produced fuse into one tone with a new timbre. This tonal fusion effect is also used in synthesizers and orchestral arrangements; for instance, in

1611:. Third edition. "Homophonic texture...is more common in Western music, where tunes are often built on chords (harmonies) that move in progressions. Indeed this harmonic orientation is one of the major differences between Western and much non-Western music." 3830: 54: 151:

plus various terms and characters indicating their qualities. In many types of music, notably baroque, romantic, modern, and jazz, chords are often augmented with "tensions". A tension is an additional chord member that creates a relatively

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consonant intervals produce a sensation of relaxation and dissonant intervals a sensation of tension. In tonal music, the term consonant also means "brings resolution" (to some degree at least, whereas dissonance "requires resolution").

874:. In those systems, a major third constructed up from C did not produce the same frequency as a minor third constructed up from D♭. Many keyboard and fretted instruments were constructed with the ability to play, for example, both of G♯ 368: 905:

up from C. In the context of a C major tonality, the former is the third of the scale, while the latter could (as one of numerous possible justifications) be serving the harmonic function of the third of a D♭ minor chord, a

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are called "imperfect" because the harmonic relationships are not found mathematically exact in the overtone series. In classical music the perfect fourth above the bass may be considered dissonant when its function is

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A note spelled as F♭ conveys different harmonic information to the reader versus a note spelled as E. In a tuning system where two notes spelled differently are tuned to the same frequency, those notes are said to be

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In the musical scale, there are twelve pitches. Each pitch is referred to as a "degree" of the scale. The names A, B, C, D, E, F, and G are insignificant. The intervals, however, are not. Here is an example:

392: 1091:. Other intervals, the second and the seventh (and their compound forms) are considered Dissonant and require resolution (of the produced tension) and usually preparation (depending on the music style). 1188:. Other types of seventh chords must be named more explicitly, such as "C Major 7" (spelled C, E, G, B), "C augmented 7" (here the word augmented applies to the fifth, not the seventh, spelled C, E, G 1253:

is composed of three tones. Their frequency ratio corresponds approximately 6:5:4. In real performances, however, the third is often larger than 5:4. The ratio 5:4 corresponds to an interval of 386

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the ear's ability to separate different frequencies. Critical bandwidth lies between 2 and 3 semitones at high frequencies and becomes larger at lower frequencies. The roughest interval in the

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and triads, tertian chord types are named for the interval of the largest size and magnitude in use in the stack, not for the number of chord members : thus a ninth chord has five members

547:", between the first two notes (the first "twinkle") and the second two notes (the second "twinkle") is the interval of a fifth. What this means is that if the first two notes were the pitch 524:

used in many of their earlier recordings. As a type of harmony, singing in unison or playing the same notes, often using different musical instruments, at the same time is commonly called

277:) is frequently cited as placing little emphasis on what is perceived in western practice as conventional harmony; the underlying harmonic foundation for most South Asian music is the 73:

is the concept of combining different sounds together in order to create new, distinct musical ideas. Theories of harmony seek to describe or explain the effects created by distinct

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possible, some defaults are accepted (not tabulated here). For example, the chord members C, E, and G, form a C Major triad, called by default simply a C chord. In an A

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texture of several simultaneous but independent voices. Therefore, it is sometimes seen as a type of harmonic understanding, and sometimes distinguished from harmony.

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Therefore, the combination of notes with their specific intervals—a chord—creates harmony. For example, in a C chord, there are three notes: C, E, and G. The note

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In response to harmonic intervals, cortical activity also distinguishes chords by their consonance, responding more robustly to chords with greater consonance.

248:, with a new emphasis on the vertical element of composed music. Modern theorists, however, tend to see this as an unsatisfactory generalisation. According to 214:, which is thought the first work in European history written on the subject of harmony. In this book, Aristoxenus refers to previous experiments conducted by 2358: 3810: 1211:, not nine.) Extensions beyond the thirteenth reproduce existing chord members and are (usually) left out of the nomenclature. Complex harmonies based on 117:. The principles of connection that govern these structures have been the subject of centuries worth of theoretical work and vernacular practice alike. 1095:

the seventh step of the major scale, i.e., F to B) sounds very dissonant alone, but less so within the context of a dominant seventh chord (G7 or D

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musical texture (distinguishing between harmonic (simultaneously sounding pitches) and "contrapuntal" (successively sounding tones)). According to

113:. The study of harmony involves the juxtaposition of individual pitches to create chords, and in turn the juxtaposition of chords to create larger 878:

A♭ without retuning. The notes of these pairs (even those where one lacks an accidental, such as E and F♭) were not the 'same' note in any sense.

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harmony in Western music began in about 1600 is commonplace in music theory. This is usually accounted for by the replacement of horizontal (or

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provide harmony, and in a G7 (G dominant 7th) chord, the root G with each subsequent note (in this case B, D and F) provide the harmony.

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in the central range, the second roughest interval is the major second and minor seventh, followed by the tritone, the minor third (

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Early Western religious music often features parallel perfect intervals; these intervals would preserve the clarity of the original

4198: 3711: 3404: 2813:"Musicians demonstrate experience-dependent brainstem enhancement of musical scale features within continuously gliding pitch" 2521:

Tanguiane (Tangian), Andranick (1994). "A principle of correlativity of perception and its application to music recognition".

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Emphasis on the precomposed in European art music and the written theory surrounding it shows considerable cultural bias. The

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nomenclature allows that, by default, "C7" indicates a chord with a root, third, fifth, and seventh spelled C, E, G, and B

1778: 4013: 3940: 1368: 1761: 2246: 2202: 2158: 2114: 2074: 2034: 1992: 1923: 1626: 1433: 1148: 544: 505: 2331: 61:, such as this US Navy group, sing 4-part pieces, made up of a melody line (normally the lead) and 3 harmony parts. 4138: 3539: 3369: 2366: 1892: 1790: 1756: 270: 3246: 1114: 862: 153: 125: 3524: 885:, constructing the major and minor keys with each of the 12 notes as the tonic can be achieved using only flats 4208: 3900: 3684: 3085: 2029:

Powers, Harold S.; Widdess, Richard (2001). "India, §III, 2: Theory and practice of classical music: Rāga". In

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Powers, Harold S.; Widdess, Richard (2001). "Theory and practice of classical music: Melodic elaboration". In

2017:‎ and Catherine Schmidt Jones, 'Listening to Indian Classical Music', Connexions, (accessed 16 November 2007) 1512:"Harmony in Design: A Synthesis of Literature from Classical Philosophy, the Sciences, Economics, and Design" 3960: 3910: 3464: 3334: 313: 269:) musical traditions, although many cultures practice vertical harmony. In addition, South Asian art music ( 3890: 3840: 3597: 3299: 3165: 1287: 1219: 497: 293: 168: 2875:"Losing the Music: Aging Affects the Perception and Subcortical Neural Representation of Musical Harmony" 1351:

Individual characteristics such as age and musical experience also have an effect on harmony perception.

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structure of chords but also their ("horizontal") movement. Like music as a whole, harmony is a process.

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sharps to spell notes within said key, never both. This is often visualized as traveling around the

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seeks to understand and describe the relationships between melodic lines, often in the context of a

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A particular emphasis on harmony is one of the core concepts underlying the theory and practice of

3434: 1278:. The spectra of these intervals resemble that of a uniform tone. According to this definition, a 132:

pitch relationships are often described as sounding more pleasant, euphonious, and beautiful than

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a source of sustained tension – between the vertical and horizontal dimensions of musical space.

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pitch relationships, which can be conversely characterized as unpleasant, discordant, or rough.

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are found in abundance in jazz, late-romantic music, modern orchestral works, film music, etc.

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In the Western tradition, in music after the seventeenth century, harmony is manipulated using

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Close harmony and open harmony use close position and open position chords, respectively. See:

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Levin, Robert D. (2001). "The Classical period in Western art music: Instrumental music". In

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is the relationship between two separate musical pitches. For example, in the melody "

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Descriptions and definitions of harmony and harmonic practice often show bias towards

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Nettl, Bruno (2001). "Concepts and practices: Improvisation in musical cultures". In

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gradually became familiar and were therefore gradually perceived as more consonant.

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A Philosophical Enquiry into the Origin of Our Ideas of the Sublime and Beautiful

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because it has three members, not because it is necessarily built in thirds (see

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Origins of the Popular Style: The Antecedents of Twentieth-Century Popular Music

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Barker, Andrew (November 1978). "Music and perception: a study in Aristoxenus".

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The Concise Oxford Dictionary of English Etymology in English Language Reference

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create symmetrical harmonies, which have been extensively used by the composers

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Qureshi, Regula (2001). "India, §I, 2(ii): Music and musicians: Art music". In

4098: 3743: 3721: 3614: 3399: 3359: 3319: 3186: 3101: 2949: 2773: 2306: 1032:, which include particularly the 9th, 11th, and 13th Intervals—widely used in 898: 464: 161: 2957: 2900: 2836: 2797: 2789: 2774:"The Tonic as Triad: Key Profiles as Pitch Salience Profiles of Tonic Triads" 2750: 2703: 2646: 2581: 2464: 2455: 1827: 3654: 3624: 3419: 3364: 3284: 3216: 1568: 525: 335: 2975: 2918: 2854: 2711: 2482: 2439:"The Role of the Auditory Brainstem in Processing Musically Relevant Pitch" 1586: 321:

techniques separates them from the higher-standing works that use notation.

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Ito, Tetsufumi; Bishop, Deborah C.; Oliver, Douglas L. (26 October 2015).

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Bidelman, Gavin M.; Gandour, Jackson T.; Krishnan, Ananthanarayan (2011).

2654: 3955: 3689: 3639: 3619: 3484: 2934:"Functional organization of the local circuit in the inferior colliculus" 1471: 1423: 1372: 555:—four scale notes, or seven chromatic notes (a perfect fifth), above it. 441: 237: 90: 2758: 2542: 2018: 1261:

A number of features contribute to the perception of a chord's harmony.

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intervals were calculated relative to a chosen root frequency, such as

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So, intricate pitch combinations that sound simultaneously do occur in

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Chan, Paul Yaozhu; Dong, Minghui; Li, Haizhou (29 September 2019).

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As can be seen, no note will always be the same scale degree. The

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Drawing both from music theoretical traditions and the field of

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Whittall, Arnold (2002). "Harmony". In Latham, Alison (ed.).

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When tuning notes using an equal temperament, such as the

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She Ji: The Journal of Design, Economics, and Innovation

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unchanged regardless of the nature of the performance.

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Music Cultures of the Pacific, the Near East, and Asia

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coinciding with one another; harmonic objects such as

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The Work of Art in the Age of Mechanical Reproduction

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Dahlhaus, Carl. Gjerdingen, Robert O. trans. (1990).

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Dahlhaus, Carl (2001). "Historical development". In

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is a mid-brain structure which is the first site of

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Compound Intervals are formed and named as follows:

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Chord Geometry – Graphical Analysis of Harmony Tool

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The Piano Encyclopedia's "Music Fundamentals eBook"

1070:The consonant intervals are considered the perfect 2676:Schellenberg, E. Glenn; Trehub, Sandra E. (1994). 1886: 1884: 1882: 1880: 1809:Harmonika Stoicheia (The Harmonics of Aristoxenus) 1964:Garland Encyclopedia of World Music vol. I Africa 2609:The Journal of the Acoustical Society of America 37:"Disharmony" redirects here. For the episode of 2285:Harmony and Composition: Basics to Intermediate 2252:The New Grove Dictionary of Music and Musicians 2208:The New Grove Dictionary of Music and Musicians 2164:The New Grove Dictionary of Music and Musicians 2120:The New Grove Dictionary of Music and Musicians 2109:Wegman, Rob C. (2001). "Western art music". In 2080:The New Grove Dictionary of Music and Musicians 2040:The New Grove Dictionary of Music and Musicians 1998:The New Grove Dictionary of Music and Musicians 1929:The New Grove Dictionary of Music and Musicians 1632:The New Grove Dictionary of Music and Musicians 1386: 318: 254: 229: 4062: 3086: 8: 3811:The Literary Mind and the Carving of Dragons 3025:Nettles, Barrie & Graf, Richard (1997). 2411: 2409: 1686:Sachs, Klaus-Jürgen; Dahlhaus, Carl (2001). 1510:Lomas, J. Derek; Xue, Haian (1 March 2022). 1158:chord (pronounced A-flat), the members are A 219:that the listener's ear determines harmony. 2996:, p. 141. Princeton University Press. 2498:Artificial Perception and Music Recognition 4069: 4055: 4047: 3093: 3079: 3071: 2994:Studies in the Origin of Harmonic Tonality 551:, the second two notes would be the pitch 244:) composition, common in the music of the 2965: 2908: 2890: 2844: 2693: 2636: 2605:"Tonal Consonance and Critical Bandwidth" 2472: 2454: 2279: 2277: 1576: 1527: 2873:Bones, O.; Plack, C. J. (4 March 2015). 2556:Langner, Gerald; Ochse, Michael (2006). 2359:"Music and the Making of Modern Science" 2307:"The 12 Golden notes is all it takes..." 931: 560: 3027:The Chord Scale Theory and Jazz Harmony 2496:Tanguiane (Tangian), Andranick (1993). 1696:10.1093/gmo/9781561592630.article.06690 1499: 1222:a dissonant chord (chord with tension) 1143:A chord with three members is called a 310:Grove Dictionary of Music and Musicians 156:in relation to the bass. The notion of 2868: 2866: 2864: 2432: 2430: 2428: 2419:, pp. 20–43 (accessed 10 March 2009) 2330:STEFANUK, MISHA V. (7 October 2010). 2241:Dahlhaus, Carl (2001). "Harmony". In 7: 2603:Plomp, R.; Levelt, W. J. M. (1965). 1621:Dahlhaus, Car (2001). "Harmony". In 1383:Consonance and dissonance in balance 558:The following are common intervals: 444:or tonal harmony well known today. 1339:) and the perfect fourth (fifth). 25: 2682:Psychonomic Bulletin & Review 1327:, the major seventh. For typical 296:– but they are rarely studied as 4172: 4029: 3052:Harmony, its Theory and Practice 2938:Anatomical Science International 2389:"Intervals | Music Appreciation" 1966:. New York and London: garland. 1457:Peter Westergaard's tonal theory 352:no. 1 in G, BWV 1007, bars 1–2. 345:Example of implied harmonies in 1843:The Journal of Hellenic Studies 2892:10.1523/jneurosci.3214-14.2015 2638:11858/00-001M-0000-0013-29B7-B 388:Close position C major triad. 1: 1894:The Oxford Companion to Music 1439:Mathematics of musical scales 1369:Frequency following responses 1365:binaural auditory integration 425:(1990) distinguishes between 407:Open position C major triad. 3941:Aestheticization of politics 2829:10.1016/j.neulet.2011.08.036 1355:Neural correlates of harmony 1218:Typically, in the classical 1123:, which are combinations of 204:, "(Ι) fit together, join". 167:Typically, in the classical 147:, chords are named by their 3014:. Oxford: Clarendon Press. 2437:Bidelman, Gavin M. (2013). 1897:. Oxford University Press. 1690:. Oxford University Press. 1529:10.1016/j.sheji.2022.01.001 1434:List of musical terminology 1149:Quartal and quintal harmony 545:Twinkle Twinkle Little Star 506:quartal and quintal harmony 316:) identifies this clearly: 4230: 4139:List of chord progressions 2772:Parncutt, Richard (2011). 2725:Parncutt, Richard (1988). 2574:10.1177/102986490601000109 1780: 1746: 1132:interval above the root.) 1108: 197: 188: 36: 29: 4214:Consonance and dissonance 4170: 4084: 4009: 2950:10.1007/s12565-015-0308-8 2393:courses.lumenlearning.com 1726:. Oxford Reference Online 1662:"Musical building blocks" 1599:Malm, William P. (1996). 1399:The Real Frank Zappa Book 1371:(FFRs) recorded from the 1288:major-minor seventh chord 1115:Consonance and dissonance 863:12-tone equal temperament 175:Etymology and definitions 2790:10.1525/mp.2011.28.4.333 2456:10.3389/fpsyg.2013.00264 2336:. Mel Bay Publications. 2283:Jamini, Deborah (2005). 2255:(2nd ed.). London: 2211:(2nd ed.). London: 2167:(2nd ed.). London: 2123:(2nd ed.). London: 2083:(2nd ed.). London: 2043:(2nd ed.). London: 2001:(2nd ed.). London: 1932:(2nd ed.). London: 1635:(2nd ed.). London: 32:Harmony (disambiguation) 3961:Evolutionary aesthetics 3911:The Aesthetic Dimension 2879:Journal of Neuroscience 2443:Frontiers in Psychology 2415:Schejtman, Rod (2008). 1762:A Greek–English Lexicon 917:is the root. The notes 314:Oxford University Press 4199:Concepts in aesthetics 3891:Avant-Garde and Kitsch 3841:Lectures on Aesthetics 2087:. India, §III, 3(ii). 1404: 1258: 1226:to a consonant chord. 1220:common practice period 504:of harmony consist of 498:Close and open harmony 419: 400: 376: 323: 294:Indian classical music 259: 234: 208:wrote a work entitled 169:common practice period 62: 4036:Philosophy portal 2421:PianoEncyclopedia.com 1753:Liddell, Henry George 1569:10.34133/2019/2369041 1248: 406: 387: 344: 236:The view that modern 57: 3981:Philosophy of design 3861:In Praise of Shadows 3851:The Critic as Artist 3055:(1889, revised 1903) 3008:van der Merwe, Peter 2817:Neuroscience Letters 2568:(1_suppl): 185–208. 2257:Macmillan Publishers 2213:Macmillan Publishers 2169:Macmillan Publishers 2125:Macmillan Publishers 2085:Macmillan Publishers 2045:Macmillan Publishers 2003:Macmillan Publishers 1962:Stone, Ruth (1998). 1934:Macmillan Publishers 1637:Macmillan Publishers 1335:), the major third ( 1290:fuses better than a 1282:fuses better than a 1101:7 in that example). 30:For other uses, see 3991:Philosophy of music 3966:Mathematical beauty 2621:1965ASAJ...38..548P 1361:inferior colliculus 1296:minor-minor seventh 1292:major-major seventh 1237:by Richard Wagner. 1062:7th + Octave = 14th 1059:6th + Octave = 13th 1056:5th + Octave = 12th 1053:4th + Octave = 11th 1050:3rd + Octave = 10th 435:Subordinate harmony 431:subordinate harmony 211:Elements of Harmony 59:Barbershop quartets 3986:Philosophy of film 3976:Patterns in nature 3946:Applied aesthetics 3921:Why Beauty Matters 3707:Life imitating art 3568:Art for art's sake 2695:10.3758/bf03200773 1453:(polyphonic chant) 1445:Musica universalis 1329:spectral envelopes 1259: 1234:Tristan und Isolde 1105:Chords and tension 1047:2nd + Octave = 9th 1030:compound intervals 910:within the scale. 446:Coordinate harmony 420: 401: 377: 154:dissonant interval 115:chord progressions 63: 18:Harmonic structure 4181: 4180: 4114:Chord progression 4044: 4043: 3996:Psychology of art 3871:Art as Experience 3029:. Advance Music, 2629:10.1121/1.1909741 2562:Musicae Scientiae 2507:978-3-540-57394-4 2369:on 2 October 2021 2343:978-1-60974-315-4 2333:Jazz Piano Chords 2305:Ghani, Nour Abd. 2266:978-1-56159-239-5 2226:978-1-56159-239-5 2182:978-1-56159-239-5 2138:978-1-56159-239-5 2094:978-1-56159-239-5 2054:978-1-56159-239-5 2012:978-1-56159-239-5 1947:978-1-56159-239-5 1904:978-0-19-957903-7 1646:978-1-56159-239-5 1429:Homophony (music) 1419:Chromatic mediant 1022: 1021: 903:diminished fourth 859: 858: 473:Arnold Schoenberg 457:tonalité ancienne 183:derives from the 16:(Redirected from 4221: 4176: 4071: 4064: 4057: 4048: 4034: 4033: 4032: 3926: 3916: 3906: 3896: 3886: 3876: 3866: 3856: 3846: 3836: 3826: 3816: 3806: 3796: 3095: 3088: 3081: 3072: 2980: 2979: 2969: 2929: 2923: 2922: 2912: 2894: 2885:(9): 4071–4080. 2870: 2859: 2858: 2848: 2808: 2802: 2801: 2778:Music Perception 2769: 2763: 2762: 2743:10.2307/40285416 2731:Music Perception 2722: 2716: 2715: 2697: 2673: 2667: 2666: 2640: 2600: 2594: 2593: 2553: 2547: 2546: 2535:10.2307/40285634 2523:Music Perception 2518: 2512: 2511: 2493: 2487: 2486: 2476: 2458: 2434: 2423: 2413: 2404: 2403: 2401: 2399: 2385: 2379: 2378: 2376: 2374: 2365:. 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490: 488: 487: 482: 481:Edgard Varèse 478: 474: 470: 466: 462: 458: 455: 451: 448:is the older 447: 443: 440: 436: 432: 428: 424: 423:Carl Dahlhaus 415: 405: 396: 386: 379: 372: 360: 351: 348: 343: 339: 337: 329: 327: 322: 317: 315: 311: 306: 303: 299: 295: 290: 288: 284: 280: 276: 272: 268: 264: 258: 253: 251: 250:Carl Dahlhaus 247: 243: 239: 233: 228: 226: 220: 217: 213: 212: 207: 203: 194: 186: 182: 174: 172: 170: 165: 163: 159: 155: 150: 146: 142: 137: 135: 131: 127: 123: 118: 116: 112: 111:Western music 107: 105: 101: 97: 92: 88: 84: 80: 76: 72: 68: 60: 56: 52: 48: 46: 40: 33: 19: 4159:Simultaneity 4094:Alberti bass 4077: 3919: 3909: 3899: 3869: 3859: 3839: 3829: 3819: 3809: 3799: 3789: 3736: 3712:Magnificence 3694: 3674: 3544: 3510:Schopenhauer 3345:Coomaraswamy 3263:Philosophers 3251: 3182:Aestheticism 3050: 3026: 3011: 2993: 2944:(1): 22–34. 2941: 2937: 2927: 2882: 2878: 2820: 2816: 2806: 2781: 2777: 2767: 2737:(1): 65–93. 2734: 2730: 2720: 2685: 2681: 2671: 2612: 2608: 2598: 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Bach's 246:Renaissance 225:A. Whittall 206:Aristoxenus 4188:Categories 4099:Banjo roll 3744:Recreation 3722:Perception 3615:Creativity 3315:Baumgarten 3305:Baudelaire 3187:Classicism 3102:Aesthetics 2287:, p. 147. 1819:3487405105 1489:References 1241:Perception 1164:, C, and E 899:enharmonic 881:Using the 526:monophonic 465:Alban Berg 427:coordinate 271:Hindustani 162:polyphonic 126:consonance 91:tonalities 4119:Four-part 3749:Reverence 3655:Eroticism 3625:Depiction 3598:Masculine 3500:Santayana 3460:Nietzsche 3405:Hutcheson 3395:Heidegger 3380:Greenberg 3335:Coleridge 3300:Balthasar 3285:Aristotle 3247:Theosophy 3242:Symbolism 3217:Modernism 3202:Formalism 2987:Citations 2958:1447-6959 2901:0270-6474 2837:0304-3940 2798:0730-7829 2751:0730-7829 2704:1069-9384 2647:0001-4966 2590:144133151 2582:1029-8649 2465:1664-1078 2398:2 October 2373:2 October 2315:2 October 2219:, §I, 2. 1871:161552153 1828:123175755 1785: in 1671:2 October 1666:ISM Trust 1603:, p. 15. 1538:247870504 1494:Footnotes 1373:mid-brain 1325:inversion 1310:Roughness 535:Intervals 336:plainsong 179:The term 134:dissonant 130:consonant 4154:Sequence 4024:Category 3956:Axiology 3825:(c. 500) 3815:(c. 100) 3690:Judgment 3645:Emotions 3640:Elegance 3620:Cuteness 3593:Feminine 3556:Concepts 3525:Tanizaki 3505:Schiller 3490:Richards 3480:Rancière 3450:Maritain 3385:Hanslick 3325:Benjamin 3197:Feminism 3166:Theology 3146:Medieval 3136:Japanese 3131:Internet 3010:(1989). 2976:26497006 2919:25740534 2855:21906656 2759:40285416 2712:24203470 2663:15852125 2543:40285634 2483:23717294 2310:Skytopia 2249:(eds.). 2205:(eds.). 2161:(eds.). 2117:(eds.). 2077:(eds.). 2037:(eds.). 1995:(eds.). 1926:(eds.). 1849:: 9–16. 1806:(1902). 1629:(eds.). 1587:32043080 1563:: 1–22. 1557:Research 1472:Tonality 1424:Harmonie 1407:See also 1392:— 1389:cheese. 1323:and its 1224:resolves 1197:♭ 1191:♯ 1185:♭ 1167:♭ 1161:♭ 1155:♭ 1098:♭ 1013:♯ 996:♯ 853:♯ 842:♯ 826:♭ 815:♭ 799:♯ 786:♭ 778:♭ 767:♭ 754:♭ 738:♯ 727:♯ 719:♯ 706:♭ 684:♯ 671:♭ 663:♭ 652:♭ 636:♯ 623:♭ 615:♭ 604:♭ 591:♭ 541:interval 518:doubling 450:Medieval 442:tonality 263:European 193:harmonia 87:textures 4194:Harmony 4104:Cadence 4078:Harmony 4019:Outline 3934:Related 3801:Poetics 3769:Tragedy 3759:Sublime 3732:Quality 3717:Mimesis 3675:Harmony 3660:Fashion 3635:Ecstasy 3630:Disgust 3546:more... 3515:Scruton 3440:Lyotard 3375:Goodman 3355:Deleuze 3290:Aquinas 3280:Alberti 3253:more... 3232:Realism 3212:Marxism 3192:Fascism 3175:Schools 3161:Science 3116:Ancient 2967:4846595 2910:4348197 2846:3196385 2655:5831012 2617:Bibcode 2474:3651994 2449:: 264. 2131:, §II. 1938:Harmony 1787:Liddell 1765:at the 1747:ἁρμονία 1578:7006947 1451:Organum 1319:is the 1129:tertian 1040:Music. 437:is the 267:Western 202:harmozō 189:ἁρμονία 181:harmony 141:popular 75:pitches 71:harmony 3925:(2009) 3915:(1977) 3905:(1946) 3895:(1939) 3885:(1935) 3875:(1934) 3865:(1933) 3855:(1891) 3845:(1835) 3835:(1757) 3702:Kitsch 3680:Humour 3610:Comedy 3588:Beauty 3530:Vasari 3520:Tagore 3495:Ruskin 3435:Lukács 3425:Langer 3370:Goethe 3295:Balázs 3275:Adorno 3156:Nature 3121:Africa 3033: 3018: 3000: 2974: 2964: 2956: 2917: 2907: 2899: 2853: 2843: 2835: 2796: 2757: 2749: 2710: 2702: 2661: 2653: 2645: 2588: 2580: 2541: 2504: 2481: 2471: 2463: 2340: 2291: 2263: 2223: 2179: 2135: 2091: 2051: 2009: 1970: 1944: 1940:, §3. 1901: 1869: 1863:630189 1861: 1826: 1816: 1781:ἁρμόζω 1702: 1643: 1607: 1585: 1575: 1536: 1286:and a 1272:octave 1121:chords 1084:fourth 1076:octave 1072:unison 577:Fifth 513:unison 479:, and 198:ἁρμόζω 102:, and 100:timbre 96:melody 83:chords 41:, see 4204:Sound 4149:Pitch 4109:Chord 4014:Index 3783:Works 3764:Taste 3754:Style 3535:Wilde 3475:Plato 3470:Pater 3430:Lipps 3390:Hegel 3360:Dewey 3350:Danto 3330:Burke 3151:Music 3126:India 3109:Areas 2755:JSTOR 2659:S2CID 2586:S2CID 2539:JSTOR 2363:Issuu 1867:S2CID 1859:JSTOR 1791:Scott 1534:S2CID 1304:Ravel 1255:cents 1145:triad 1134:Dyads 1127:. In 1080:fifth 1038:blues 1026:tonic 564:Root 380:Types 287:Ragas 279:drone 238:tonal 185:Greek 79:tones 67:music 45:Angel 39:Angel 4144:Note 3738:Rasa 3696:Kama 3670:Gaze 3605:Camp 3485:Rand 3420:Klee 3410:Kant 3400:Hume 3320:Bell 3031:ISBN 3016:ISBN 2998:ISBN 2972:PMID 2954:ISSN 2915:PMID 2897:ISSN 2851:PMID 2833:ISSN 2794:ISSN 2747:ISSN 2708:PMID 2700:ISSN 2651:PMID 2643:ISSN 2578:ISSN 2502:ISBN 2479:PMID 2461:ISSN 2400:2021 2375:2021 2338:ISBN 2317:2021 2289:ISBN 2261:ISBN 2221:ISBN 2177:ISBN 2133:ISBN 2089:ISBN 2049:ISBN 2007:ISBN 1968:ISBN 1942:ISBN 1899:ISBN 1824:OCLC 1814:ISBN 1789:and 1732:2007 1700:ISBN 1673:2021 1641:ISBN 1605:ISBN 1583:PMID 1561:2019 1359:The 1274:and 1113:and 1036:and 1034:jazz 921:and 870:and 496:and 452:and 429:and 413:Play 394:Play 358:Play 273:and 265:(or 149:root 143:and 104:form 89:and 3665:Fun 3445:Man 3365:Fry 2962:PMC 2946:doi 2905:PMC 2887:doi 2841:PMC 2825:doi 2821:503 2786:doi 2739:doi 2690:doi 2633:hdl 2625:doi 2570:doi 2531:doi 2469:PMC 2451:doi 1851:doi 1692:doi 1573:PMC 1565:doi 1524:doi 1294:or 1204:.) 1194:, B 1178:". 1140:). 956:8° 953:7° 950:6° 947:5° 944:4° 941:3° 938:2° 935:1° 876:and 539:An 483:'s 364:or 139:In 77:or 65:In 4190:: 3893:" 3883:" 3853:" 3049:, 2970:. 2960:. 2952:. 2942:91 2940:. 2936:. 2913:. 2903:. 2895:. 2883:35 2881:. 2877:. 2863:^ 2849:. 2839:. 2831:. 2819:. 2815:. 2792:. 2782:28 2780:. 2776:. 2753:. 2745:. 2733:. 2729:. 2706:. 2698:. 2684:. 2680:. 2657:. 2649:. 2641:. 2631:. 2623:. 2613:38 2611:. 2607:. 2584:. 2576:. 2566:10 2564:. 2560:. 2537:. 2527:11 2525:. 2477:. 2467:. 2459:. 2445:. 2441:. 2427:^ 2408:^ 2391:. 2361:. 2276:^ 2259:. 2245:; 2215:. 2201:; 2171:. 2157:; 2127:. 2113:; 2073:; 2047:. 2033:; 2005:. 1991:; 1936:. 1922:; 1879:^ 1865:. 1857:. 1847:98 1845:. 1822:. 1759:; 1755:; 1751:. 1722:. 1698:. 1664:. 1639:. 1625:; 1581:. 1571:. 1559:. 1555:. 1532:. 1518:. 1514:. 1502:^ 1397:, 1170:. 1082:, 1078:, 1074:, 1018:D 1007:B 1004:A 1001:G 990:E 987:D 982:C 979:B 976:A 973:G 970:F 967:E 964:D 961:C 887:or 847:D 836:B 831:F 820:D 807:E 804:C 793:A 772:C 759:D 748:B 745:G 732:A 711:C 700:A 697:F 692:B 689:G 678:E 657:G 644:A 641:F 630:D 609:F 596:G 585:E 582:C 531:. 511:A 508:. 500:. 489:. 475:, 471:, 467:, 433:. 252:: 227:: 106:. 98:, 85:, 69:, 4070:e 4063:t 4056:v 3889:" 3879:" 3849:" 3094:e 3087:t 3080:v 3022:. 3004:. 2978:. 2948:: 2921:. 2889:: 2857:. 2827:: 2800:. 2788:: 2761:. 2741:: 2735:6 2714:. 2692:: 2686:1 2665:. 2635:: 2627:: 2619:: 2592:. 2572:: 2545:. 2533:: 2510:. 2485:. 2453:: 2447:4 2402:. 2377:. 2346:. 2319:. 2295:. 2271:‎ 2269:. 2231:‎ 2229:. 2187:‎ 2185:. 2143:‎ 2141:. 2099:‎ 2097:. 2059:‎ 2057:. 2015:. 1976:. 1952:‎ 1950:. 1907:. 1873:. 1853:: 1830:. 1793:. 1769:. 1734:. 1708:. 1694:: 1675:. 1651:‎ 1649:. 1589:. 1567:: 1540:. 1526:: 1520:8 1010:C 993:F 923:G 919:E 915:C 850:F 839:D 823:D 812:B 796:C 783:E 775:C 764:A 751:B 735:C 724:A 716:F 703:A 681:G 668:B 660:G 649:E 633:F 620:A 612:F 601:D 588:E 553:G 549:C 312:( 49:. 47:) 34:. 20:)

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