2133:
1294:
1047:
795:
225:
1628:
2385:
2375:
1549:
1687:
1677:
1662:
1647:
1609:
1594:
1579:
1564:
2414:
2122:
564:
548:
532:
488:
472:
420:
404:
259:
556:
540:
496:
480:
464:
412:
396:
251:
364:) with specific tunings were specified. Once the genus and shade of tetrachord are specified, their arrangement can produce three main types of scales, depending on which note of the tetrachord is taken as the first note of the scale. The tetrachords themselves remain independent of the scales that they produce, and were never named after these scales by Greek theorists.
1911:
segment of the chromatic scale, or, in a more historically oriented context, to refer to the six chromatic notes used to fill the interval of a perfect fourth, usually found in descending bass lines. It may also be used to describes sets of fewer than four notes, when used in scale-like fashion to span the interval of a perfect fourth.
2150:
He continues with four other possible genres "dividing the tone in quarters, eighths, thirds, half thirds, quarter thirds, and combining them in diverse manners". Later, he presents possible positions of the frets on the lute, producing ten intervals dividing the interval of a fourth between the
1910:
Theorists of the later 20th century often use the term "tetrachord" to describe any four-note set when analysing music of a variety of styles and historical periods. The expression "chromatic tetrachord" may be used in two different senses: to describe the special case consisting of a four-note
1327:
The number of strings on the classical lyre varied at different epochs, and possibly in different localities – four, seven and ten having been favorite numbers. Larger scales are constructed from conjunct or disjunct tetrachords. Conjunct tetrachords share a note, while disjunct tetrachords are
2035:
are said to also appear particularly in Indian music. In this case, the lower "tetrachord" totals six semitones (a tritone). The following elements produce 36 combinations when joined by halfstep. These 36 combinations together with the 36 combinations described above produce the so-called "72
1948:
Tetrachords based upon equal-tempered tuning were also used to approximate common heptatonic scales in use in Indian, Hungarian, Arabian and Greek musics. Western theorists of the 19th and 20th centuries, convinced that any scale should consist of two tetrachords and a tone, described various
1902:–F, etc.). The 19th-century theorists of ancient Greek music believed that this had also been the case in Antiquity, and imagined that there had existed Dorian, Phrygian or Lydian tetrachords. This misconception was denounced in Otto Gombosi's thesis (1939).
204:
A chromatic tetrachord has a characteristic interval that is greater than about half the total interval of the tetrachord, yet not as great as four-fifths of the interval (between about 249 and 398 cents). Classically, the characteristic interval is a
1521:
1312:
1889:
All these scales are formed by two complete disjunct tetrachords: contrarily to Greek and
Medieval theory, the tetrachords change here from scale to scale (i.e., the C major tetrachord would be C–D–E–F, the D major one
1065:
1949:
combinations supposed to correspond to a variety of exotic scales. For instance, the following diatonic intervals of one, two or three semitones, always totaling five semitones, produce 36 combinations when joined by
813:
2497:
The descending tetrachord from tonic to dominant, typically in minor (e.g. A–G–F–E in A minor), had been used since the
Renaissance to denote a lamentation. Well-known cases include the ostinato bass of Dido's aria
2482:). It should be mentioned that Al-Farabi's, among other Islamic treatises, also contained additional division schemes as well as providing a gloss of the Greek system as Aristoxenian doctrines were often included.
1484:
145:
as the basic unit for determining tuning, where ancient Greeks used the tetrachord. Ancient Greek theorists recognized that the octave is a fundamental interval but saw it as built from two tetrachords and a
1447:
1410:
1373:
1522:
1313:
1713:
1066:
812:
1485:
2478:
in an octave, this would create a 25-tone scale. A more inclusive description (where
Ottoman, Persian and Arabic overlap), of the scale divisions is that of 24 quarter tones (see also
1448:
1411:
1619:
233:
An enharmonic tetrachord has a characteristic interval that is greater than about four-fifths the total tetrachord interval. Classically, the characteristic interval is a
1374:
1303:
2610:
texture, but in contrast to the lament, here the tetrachordal fragment – ascending or descending and possibly reordered – is set in the upper voice in the manner of a
1056:
1714:
3357:
3322:
2685:
804:
1339:
The Greeks analyzed genera using various terms, including diatonic, enharmonic, and chromatic. Scales are constructed from conjunct or disjunct tetrachords.
2923:
21, no. 1 (Spring 1999): 43–73; Tuire Kuusi, "Subset-Class
Relation, Common Pitches, and Common Interval Structure Guiding Estimations of Similarity",
184:
A diatonic tetrachord has a characteristic interval that is less than or equal to half the total interval of the tetrachord (or approximately 249
1729:. Given the following vocabulary of tetrachords (the digits give the number of semitones in consecutive intervals of the tetrachord, adding to five):
1620:
571:
In all cases, the extreme notes of the tetrachords, E – B, and A – E, remain fixed, while the notes in between are different depending on the genus.
3394:
282:, meaning "compressed"). This is the case for the chromatic and enharmonic tetrachords, but not the diatonic (meaning "stretched out") tetrachord.
2490:
The tetrachord, a fundamentally incomplete fragment, is the basis of two compositional forms constructed upon repetition of that fragment: the
2805:
2744:
1332:
of 9/8 (a
Pythagorean major second). Alternating conjunct and disjunct tetrachords form a scale that repeats in octaves (as in the familiar
3530:
2784:
1520:
1311:
3487:
1064:
3349:
3304:
3201:
3090:
3082:
2858:
814:
3077:, pp. 1, 18, 68, 70, 73, 87, 88, 21, 119, 123, 124, 125, 138, 143, 171, 174, and 223. New Haven and London: Yale University Press.
2579:
texture, wherein the bass descends through some tetrachord, possibly that of the previous paragraph, but usually one suggesting a
1483:
99:
2818:
3057:
1446:
1409:
1372:
3387:
1712:
2132:
3366:
3331:
3290:
2681:
3035:
2026:
2690:(second ed.). London, UK: Macmillan. 6 Music Theory, (iii) Aristoxenian Tradition, (d) Scales.
3052:
2999:
2975:
2961:
2909:
2104:
2140:
The fourth genre, corresponding to the Greek chromatic, has a tone and a half, a semitone and a semitone, as G–A
1618:
138:
or the kithara, with the implicit understanding that the four strings produced adjacent (i.e., conjunct) notes.
3535:
3095:
2985:
2943:
2115:
The first genre, corresponding to the Greek diatonic, is composed of a tone, a tone and a semitone, as G–A–B–C.
1532:
3100:
2614:. Because of the extreme brevity of the theme and number of repetitions required, and free of the binding of
2530:("complaint", "lamentation"), has been used until today. A variant form, the full chromatic descent (e.g. A–G
3540:
3450:
3380:
3018:
2903:
2631:
164:
2884:
3467:
2636:
175:) of tetrachords. These genera are characterized by the largest of the three intervals of the tetrachord:
3292:
Divisions of the
Tetrachord: A Prolegomenon [introduction] to the Construction of Musical Scales
2919:
2889:
2515:
2384:
2374:
1937:
1847:
1693:
1552:
188:). This characteristic interval is usually slightly smaller (approximately 200 cents), becoming a
3502:
2930:
269:
3472:
3411:
2736:
3477:
3189:
3135:, 2 vols., translated by John Fenstermaker (Paris: Alphonse Leduc, 1962): 2:35. ASIN: B0006CNH8E.
2772:
580:
356:
As the three genera simply represent ranges of possible intervals within the tetrachord, various
3115:
Reynold
Simpson, "New Sketches, Old Fragments, and Schoenberg's Third String Quartet, Op. 30",
2763:, 2 vols., translated by John Fenstermaker. Paris: Alphonse Leduc, 1962, 2:35. ASIN: B0006CNH8E.
224:
1686:
1676:
1661:
1646:
1608:
1593:
1578:
1563:
3438:
3345:
3300:
3197:
3086:
3078:
2854:
2801:
2780:
2615:
2603:
2572:
1722:
1635:
2118:
The second genre is composed of a tone, three quarter tones and three quarter tones, as G–A–B
3497:
2990:
2970:
2925:
2846:
2656:
2544:
2022:
1726:
1627:
1336:, created in such a manner from the diatonic genus), but this was not the only arrangement.
55:
555:
539:
495:
479:
463:
411:
395:
250:
3492:
3013:
2914:
2748:
2619:
2611:
2413:
2121:
1940:, the term may have the special sense of any consecutive four notes of a twelve-tone row.
563:
547:
531:
487:
471:
419:
403:
258:
192:. Classically, the diatonic tetrachord consists of two intervals of a tone and one of a
3372:
3286:
3031:
2994:
2980:
2966:
2934:
2898:
2651:
2556:
1928:
1333:
285:
Whatever the tuning of the tetrachord, its four degrees are named, in ascending order,
122:
108:
59:
47:
39:
209:(approximately 300 cents), and the two smaller intervals are equal semitones, e.g. A–G
3524:
3423:
3362:
3327:
2956:
2948:
2826:
2677:
2503:
2479:
1632:
1282:
1274:
1266:
1258:
1035:
1027:
1019:
1011:
783:
775:
767:
759:
218:
199:
179:
159:
67:
2129:
The third genre has a tone and a quarter, three quarter tones and a semitone, as G–A
3482:
3428:
3296:
3144:
Joanny
Grosset, "Inde. Histoire de la musique depuis l'origine jusqu'à nos jours",
3012:
Brent
Auerbach, "Tiered Polyphony and Its Determinative Role in the Piano Music of
2952:
2894:
2475:
2428:
1556:
242:
189:
185:
147:
63:
31:
2917:'s 'Construction of Twelve Verticals': An Aspect of Harmony in the Serial Music",
1548:
1080:
Here is a representative
Pythagorean tuning of the enharmonic genus attributed to
432:
The second note of the tetrachord (in descending order) is the first of the scale.
1711:
1617:
1519:
1482:
1445:
1408:
1371:
1310:
1063:
811:
507:
The third note of the tetrachord (in descending order) is the first of the scale.
228:
Two Greek tetrachords in the enharmonic genus, forming an enharmonic Dorian scale
3407:
3403:
3280:] (reprint) (in French). Translated by Rodolphe d'Erlanger. Paris: Geuthner.
3255:, 2 vols., translated by John Fenstermaker (Paris: Alphonse Leduc, 1962): 2:110.
3070:
2907:
38, no. 1 (Spring 1994): 21–41; Ian Quinn, "Listening to Similarity Relations",
2646:
2584:
2580:
2568:
2491:
2470:
If one considers that the interval of a fourth between the strings of the lute (
2107:
music divides the interval of a fourth differently than the Greek. For example,
1919:
238:
206:
3242:, 2 vols., translated by John Fenstermaker. Paris: Alphonse Leduc, 1937): 1:14.
2983:: Tonality, Motivic Sets and the Referential Pitch-Class Specific Collection",
3457:
3196:, translated by Laurie Schwartz. (Portland, Oregon: Amadeus Press, 1996): 19.
1950:
1777:
826:
58:. In traditional music theory, a tetrachord always spanned the interval of a
3462:
3337:
3269:
2607:
2576:
2108:
268:
When the composite of the two smaller intervals is less than the remaining (
17:
3509:
3433:
2032:
1639:
1081:
193:
71:
2941:, With Notes on Narrative, Symmetry, Quantitative Flux and Heraclitus",
2474:) corresponds to a tetrachord, and that there are two tetrachords and a
1776:
the following scales could be derived by joining two tetrachords with a
1614:(b–a–g–f). This tetrachord spans a tritone instead of a perfect fourth.
1108:
2523:
371:
The first note of the tetrachord is also the first note of the scale.
274:
234:
142:
2883:
Benedict Taylor, "Modal Four-Note Pitch Collections in the Music of
2587:, is repeated again and again over the length of the composition.
1626:
1547:
305:
and, for the second tetrachord in the construction of the system,
223:
337:
are fixed, and a perfect fourth apart, while the position of the
3225:
Ellen Rosand, "The Descending Tetrachord: An Emblem of Lament",
2641:
135:
3376:
2979:
4, no. 2 (Spring–Summer 1966): 14–22; Annie K. Yih, "Analysing
134:, originally in reference to harp-like instruments such as the
2471:
3093:(pbk). Allen Forte (1985). "Pitch-Class Set Analysis Today".
3240:
Cours complet d'improvisation a l'orgue: Exercices preparées
1292:
1045:
793:
3344:. Longman Music Series. New York and London: Longman Inc..
3146:
Encyclopédie de la musique et Dictionnaire du Conservatoire
3127:
3125:
3119:
17, In Celebration of Arnold Schoenberg (1) (1992): 85–101.
2676:
Mathiesen, Thomas J. (2001). "Greece §I: Ancient". In
2526:'s Mass in C minor, KV 427, etc. This tetrachord, known as
1932:
or simply a "4-element set" – a set of any four pitches or
74:, not necessarily related to a particular tuning system.
66:)—but in modern use it means any four-note segment of a
861:
2590:
Another musical form, of the same time period, is the
2913:
39, no. 2 (Summer 2001): 108–158; Joseph N. Straus, "
2779:, 2 vols. (New York: Carl Fischer, 1941), 1:112–114.
2111:
describes four genres of the division of the fourth:
94:—"string" or "note"). In ancient Greek music theory,
2853:(Boston: Northeastern University Press, 1993): 120.
2851:
The "Style hongrois" in the Music of Western Europe
3051:Nors S. Josephson, "On Some Apparent Sketches for
2933:, "An Imagined Drama of Competitive Opposition in
27:Series of four notes separated by three intervals
3106:Conference 1984): 29–58, citations on 48–51, 53.
2618:to tetrachord in the lament, the breadth of the
3358:The New Grove Dictionary of Music and Musicians
3323:The New Grove Dictionary of Music and Musicians
2687:The New Grove Dictionary of Music and Musicians
2555:There exists a short, free musical form of the
272:) interval, the three-note group is called the
54:) is a series of four notes separated by three
3099:4, nos. 1 & 2 (March–July: Special Issue:
3034:, "Beethoven's Interrupted Tetrachord and the
3388:
2777:The Schillinger System of Musical Composition
8:
2583:. This tetrachord, treated as a very short
1559:(also known as the upper minor tetrachord):
3299:. Hanover, New Hampshire: Frog Peak Music.
583:of the diatonic and chromatic tetrachords:
3395:
3381:
3373:
2947:28, no. 2/3 (July–October 2009): 373–422;
62:, a 4:3 frequency proportion (approx. 498
3181:
3169:
3157:
3148:, vol. 1, Paris, Delagrave, 1914, p. 325.
2965:11, no. 2 (Spring–Summer 1973): 204–209;
2872:Tonarten und Stimmungen der Antiken Musik
2800:(Pacific, Missouri: Mel Bay, 2010): 111.
2602:(OE spur). It is also a set of harmonic
3213:
2724:
2712:
2700:
2038:
1955:
1782:
1731:
1341:
1304:Enharmonic tetrachord pythagorean tuning
3253:Cours complet d'improvisation a l'orgue
3133:Cours Complet d'Improvisation a l'Orgue
3003:2, no. 1 (Autumn–Winter 1963): 102–113.
2761:Cours Complet d'Improvisation a l'Orgue
2668:
1057:Chromatic tetrachord pythagorean tuning
3186:Das Arabische Tonsystem im Mittelalter
1696:: i–v6–iv6–V in C minor (bassline: c–b
824:
805:Diatonic tetrachord pythagorean tuning
609:
603:
2959:: String Quartet (1967): Two Views",
2874:, Kopenhagen, Ejnar Munksgaard, 1939.
2819:"Double harmonic scale and its modes"
2571:. It is typically a set of harmonic
1535:divisions by Chalmers after Hofmann.
86:(from Greek—"four of something") and
7:
2973:: A Few Observations of His Music",
2542:–F–E in A minor), has been known as
2518:'s Mass in B minor, BWV 232, or the
241:, and the two smaller intervals are
3184:, pp. 165–179; Liberty Manik,
1725:tuning were used to explain common
1382:Eratosthenes’ chromatic tetrachord
2929:25, no. 1 (September 2007): 1–11;
1926:to mean what he elsewhere calls a
100:greater and lesser perfect systems
25:
3188:(Leiden, E. J. Brill, 1969): 42;
2017:Indian-specific tetrachord system
3355:Roeder, John. 2001. "Set (ii)".
2989:19, no. 2 (July 2000): 203–229;
2893:32, no. 1 (Spring 2010): 44–59;
2412:
2383:
2373:
2131:
2120:
1709:
1685:
1675:
1660:
1645:
1638:creates a descending tetrachord
1615:
1607:
1592:
1577:
1562:
1517:
1480:
1443:
1406:
1369:
1308:
1061:
825:Problems playing this file? See
809:
562:
554:
546:
538:
530:
494:
486:
478:
470:
462:
418:
410:
402:
394:
257:
249:
116:); the notes between these were
3320:Anonymous. 2001. "Tetrachord".
3022:52, no. 2 (Fall 2008): 273–320.
2997:'s Composition for Orchestra",
1531:This is a partial table of the
3229:65, no. 3 (1979): 346–59.
2622:in litany is usually notable.
1345:Didymos’ chromatic tetrachord
1:
3285:Chalmers, John H. Jr (1993).
3075:The Structure of Atonal Music
2798:Advanced Lead Guitar Concepts
510:Diatonic: C–B | A–G–F–E | D–C
437:Diatonic: D–C–B | A–G–F–E | D
141:Modern music theory uses the
3361:, second edition, edited by
3326:, second edition, edited by
3058:Archiv für Musikwissenschaft
2901:and Intervallic Weighting",
1456:Ptolemy’s intense chromatic
2031:Tetrachords separated by a
1922:occasionally uses the term
1880:1 2 2 : 2 : 1 3 1
1869:2 1 2 : 2 : 2 2 1
1858:2 2 1 : 2 : 1 2 2
1844:1 3 1 : 2 : 1 3 1
1833:2 1 2 : 2 : 1 3 1
1822:2 2 1 : 2 : 1 3 1
1811:2 1 2 : 2 : 1 2 2
1800:2 2 1 : 2 : 2 2 1
374:Diatonic: E–D–C–B | A–G–F–E
167:theory distinguishes three
98:signified a segment of the
3557:
3531:Ancient Greek music theory
3053:Sibelius's Eighth Symphony
2027:Hindustani classical music
2020:
157:
154:Ancient Greek music theory
3419:
3000:Perspectives of New Music
2976:Perspectives of New Music
2962:Perspectives of New Music
2910:Perspectives of New Music
1896:–G, the C minor one C–D–E
1419:Ptolemy’s soft chromatic
1288:
1089:
1041:
840:
789:
588:
579:Here are the traditional
126:
112:
43:
3289:; Carter Scholz (eds.).
3274:Kitābu l-mūsīqī al-kabīr
3061:61, no. 1 (2004): 54–67.
3019:Journal of Music Theory
2904:Journal of Music Theory
2870:Otto Johannes Gombosi,
2796:Joshua Craig Podolsky,
2632:All-interval tetrachord
2500:When I am laid in earth
1721:Tetrachords based upon
3251:Marcel Dupré, (1962).
3194:The Music of the Arabs
2737:"Phrygian Progression"
2637:Diatonic and chromatic
1877:Upper minor + harmonic
1718:
1624:
1297:
1050:
798:
229:
130:). It literally means
51:
3227:The Musical Quarterly
3101:King's College London
2920:Music Theory Spectrum
2890:Music Theory Spectrum
2887:'s American Period",
2516:Johann Sebastian Bach
1906:20th-century analysis
1848:Double harmonic scale
1786:Component tetrachords
1694:Phrygian half cadence
1630:
1553:Descending tetrachord
1551:
1493:Archytas’ enharmonic
1296:
1049:
797:
227:
3369:. London: Macmillan.
3334:. London: Macmillan.
2897:and Jack Douthett, "
2741:Classical Music Blog
513:Chromatic: C–B | A–G
82:The name comes from
3342:Basic Atonal Theory
3117:Theory and Practice
2486:Compositional forms
1855:Major + upper minor
1841:Harmonic + harmonic
1808:Minor + upper minor
581:Pythagorean tunings
575:Pythagorean tunings
165:Ancient Greek music
3190:Habib Hassan Touma
2773:Joseph Schillinger
2747:2011-10-06 at the
2620:harmonic excursion
2545:Passus duriusculus
2045:Upper tetrachords
1962:Upper tetrachords
1944:Non-Western scales
1938:twelve-tone theory
1719:
1625:
1298:
1051:
799:
230:
3518:
3517:
3488:"Ode-to-Napoleon"
3160:, pp. 56–57.
3042:5 (1991): 77–100.
2931:Joshua B. Mailman
2806:978-0-7866-8236-2
2616:chord progression
2468:
2467:
2097:
2096:
2042:Lower tetrachords
2036:karnatic modes".
2014:
2013:
1959:Lower tetrachords
1887:
1886:
1883:Neapolitan minor
1774:
1773:
1727:heptatonic scales
1723:equal temperament
1715:
1621:
1529:
1528:
1523:
1486:
1449:
1412:
1375:
1325:
1324:
1314:
1078:
1077:
1067:
836:
835:
815:
16:(Redirected from
3548:
3397:
3390:
3383:
3374:
3310:
3281:
3278:La musique arabe
3256:
3249:
3243:
3236:
3230:
3223:
3217:
3211:
3205:
3179:
3173:
3167:
3161:
3155:
3149:
3142:
3136:
3129:
3120:
3113:
3107:
3068:
3062:
3049:
3043:
3036:Seventh Symphony
3029:
3023:
3010:
3004:
2926:Music Perception
2881:
2875:
2868:
2862:
2847:Jonathan Bellman
2844:
2838:
2837:
2835:
2834:
2825:. Archived from
2823:docs.solfege.org
2815:
2809:
2794:
2788:
2770:
2764:
2757:
2751:
2734:
2728:
2722:
2716:
2710:
2704:
2698:
2692:
2691:
2673:
2657:Tetratonic scale
2541:
2540:
2535:
2534:
2494:and the litany.
2417:
2416:
2407:
2406:
2399:
2398:
2388:
2387:
2378:
2377:
2368:
2367:
2360:
2359:
2344:
2342:
2341:
2338:
2335:
2327:
2325:
2324:
2321:
2318:
2310:
2308:
2307:
2304:
2301:
2293:
2291:
2290:
2287:
2284:
2276:
2274:
2273:
2270:
2267:
2259:
2257:
2256:
2253:
2250:
2242:
2240:
2239:
2236:
2233:
2225:
2223:
2222:
2219:
2216:
2208:
2206:
2205:
2202:
2199:
2191:
2189:
2188:
2185:
2182:
2174:
2172:
2171:
2168:
2165:
2154:
2153:
2145:
2144:
2136:
2135:
2125:
2124:
2039:
1956:
1901:
1900:
1895:
1894:
1830:Minor + harmonic
1819:Major + harmonic
1792:Resulting scale
1783:
1738:Halfstep String
1732:
1717:
1716:
1707:
1706:
1701:
1700:
1690:
1689:
1680:
1679:
1672:
1671:
1665:
1664:
1657:
1656:
1650:
1649:
1623:
1622:
1612:
1611:
1604:
1603:
1597:
1596:
1589:
1588:
1582:
1581:
1574:
1573:
1567:
1566:
1525:
1524:
1488:
1487:
1451:
1450:
1414:
1413:
1377:
1376:
1342:
1330:disjunctive tone
1316:
1315:
1295:
1249:
1247:
1246:
1243:
1240:
1229:
1227:
1226:
1223:
1220:
1209:
1207:
1206:
1203:
1200:
1187:
1185:
1184:
1181:
1178:
1168:
1166:
1165:
1162:
1159:
1149:
1147:
1146:
1143:
1140:
1130:
1128:
1127:
1124:
1121:
1087:
1086:
1069:
1068:
1048:
1002:
1000:
999:
996:
993:
982:
980:
979:
976:
973:
962:
960:
959:
956:
953:
940:
938:
937:
934:
931:
921:
919:
918:
915:
912:
902:
900:
899:
896:
893:
883:
881:
880:
877:
874:
849:
838:
837:
817:
816:
796:
750:
748:
747:
744:
741:
730:
728:
727:
724:
721:
710:
708:
707:
704:
701:
688:
686:
685:
682:
679:
669:
667:
666:
663:
660:
650:
648:
647:
644:
641:
631:
629:
628:
625:
622:
597:
586:
585:
567:
566:
559:
558:
551:
550:
543:
542:
535:
534:
524:
523:
518:
517:
499:
498:
491:
490:
483:
482:
475:
474:
467:
466:
457:
456:
451:
450:
445:
444:
423:
422:
415:
414:
407:
406:
399:
398:
388:
387:
382:
381:
264:
262:
261:
254:
253:
214:
213:
129:
128:
115:
114:
45:
21:
3556:
3555:
3551:
3550:
3549:
3547:
3546:
3545:
3536:Music of Greece
3521:
3520:
3519:
3514:
3415:
3401:
3317:
3315:Further reading
3307:
3284:
3268:
3260:
3259:
3250:
3246:
3237:
3233:
3224:
3220:
3212:
3208:
3180:
3176:
3168:
3164:
3156:
3152:
3143:
3139:
3130:
3123:
3114:
3110:
3069:
3065:
3050:
3046:
3030:
3026:
3014:Johannes Brahms
3011:
3007:
2939:Scrivo in Vento
2899:Vector Products
2882:
2878:
2869:
2865:
2845:
2841:
2832:
2830:
2817:
2816:
2812:
2795:
2791:
2771:
2767:
2758:
2754:
2749:Wayback Machine
2735:
2731:
2723:
2719:
2711:
2707:
2699:
2695:
2675:
2674:
2670:
2665:
2628:
2612:chorale prelude
2548:in the Baroque
2538:
2537:
2532:
2531:
2508:Dido and Aeneas
2488:
2411:
2404:
2403:
2396:
2395:
2382:
2372:
2365:
2364:
2357:
2356:
2339:
2336:
2333:
2332:
2330:
2322:
2319:
2316:
2315:
2313:
2305:
2302:
2299:
2298:
2296:
2288:
2285:
2282:
2281:
2279:
2271:
2268:
2265:
2264:
2262:
2254:
2251:
2248:
2247:
2245:
2237:
2234:
2231:
2230:
2228:
2220:
2217:
2214:
2213:
2211:
2203:
2200:
2197:
2196:
2194:
2186:
2183:
2180:
2179:
2177:
2169:
2166:
2163:
2162:
2160:
2142:
2141:
2130:
2119:
2102:
2029:
2019:
1946:
1917:
1908:
1898:
1897:
1892:
1891:
1850:or Gypsy major
1836:Harmonic minor
1825:Harmonic major
1803:Diatonic major
1789:Halfstep string
1710:
1704:
1703:
1698:
1697:
1691:
1684:
1681:
1674:
1669:
1668:
1666:
1659:
1654:
1653:
1651:
1644:
1616:
1613:
1606:
1601:
1600:
1598:
1591:
1586:
1585:
1583:
1576:
1571:
1570:
1568:
1561:
1546:
1541:
1533:superparticular
1518:
1481:
1444:
1407:
1370:
1328:separated by a
1321:
1320:
1319:
1318:
1317:
1309:
1306:
1299:
1293:
1244:
1241:
1238:
1237:
1235:
1224:
1221:
1218:
1217:
1215:
1204:
1201:
1198:
1197:
1195:
1182:
1179:
1176:
1175:
1173:
1163:
1160:
1157:
1156:
1154:
1144:
1141:
1138:
1137:
1135:
1125:
1122:
1119:
1118:
1116:
1074:
1073:
1072:
1071:
1070:
1062:
1059:
1052:
1046:
997:
994:
991:
990:
988:
977:
974:
971:
970:
968:
957:
954:
951:
950:
948:
935:
932:
929:
928:
926:
916:
913:
910:
909:
907:
897:
894:
891:
890:
888:
878:
875:
872:
871:
869:
855:
832:
831:
823:
821:
820:
819:
818:
810:
807:
800:
794:
745:
742:
739:
738:
736:
725:
722:
719:
718:
716:
705:
702:
699:
698:
696:
683:
680:
677:
676:
674:
664:
661:
658:
657:
655:
645:
642:
639:
638:
636:
626:
623:
620:
619:
617:
577:
561:
553:
545:
537:
529:
521:
520:
515:
514:
493:
485:
477:
469:
461:
454:
453:
448:
447:
442:
441:
417:
409:
401:
393:
392:Enharmonic: E–D
385:
384:
379:
378:
353:, are movable.
256:
248:
246:
211:
210:
196:, e.g. A–G–F–E.
162:
156:
121:
107:
80:
28:
23:
22:
15:
12:
11:
5:
3554:
3552:
3544:
3543:
3541:Musical scales
3538:
3533:
3523:
3522:
3516:
3515:
3513:
3512:
3507:
3506:
3505:
3500:
3495:
3490:
3485:
3480:
3475:
3470:
3460:
3455:
3454:
3453:
3443:
3442:
3441:
3431:
3426:
3420:
3417:
3416:
3404:Pitch segments
3402:
3400:
3399:
3392:
3385:
3377:
3371:
3370:
3353:
3335:
3316:
3313:
3312:
3311:
3305:
3295:. foreword by
3287:Larry Polansky
3282:
3258:
3257:
3244:
3238:Marcel Dupré,
3231:
3218:
3206:
3182:Al-Farabi 2001
3174:
3170:Al-Farabi 2001
3162:
3158:Al-Farabi 2001
3150:
3137:
3131:Marcel Dupré,
3121:
3108:
3104:Music Analysis
3096:Music Analysis
3063:
3044:
3032:Robert Gauldin
3024:
3005:
2995:Godfrey Winham
2986:Music Analysis
2967:Milton Babbitt
2944:Music Analysis
2876:
2863:
2839:
2810:
2789:
2785:978-0306775215
2765:
2759:Marcel Dupré,
2752:
2729:
2717:
2715:, p. 103.
2705:
2693:
2667:
2666:
2664:
2661:
2660:
2659:
2654:
2649:
2644:
2639:
2634:
2627:
2624:
2487:
2484:
2466:
2465:
2462:
2459:
2456:
2453:
2450:
2447:
2444:
2441:
2438:
2435:
2432:
2425:
2424:
2421:
2418:
2408:
2400:
2392:
2389:
2379:
2369:
2361:
2353:
2350:
2346:
2345:
2328:
2311:
2294:
2277:
2260:
2243:
2226:
2209:
2192:
2175:
2158:
2148:
2147:
2138:
2127:
2116:
2101:
2098:
2095:
2094:
2091:
2087:
2086:
2083:
2079:
2078:
2075:
2071:
2070:
2067:
2063:
2062:
2059:
2055:
2054:
2051:
2047:
2046:
2043:
2018:
2015:
2012:
2011:
2008:
2004:
2003:
2000:
1996:
1995:
1992:
1988:
1987:
1984:
1980:
1979:
1976:
1972:
1971:
1968:
1964:
1963:
1960:
1945:
1942:
1916:
1913:
1907:
1904:
1885:
1884:
1881:
1878:
1874:
1873:
1872:Melodic minor
1870:
1867:
1863:
1862:
1861:Melodic major
1859:
1856:
1852:
1851:
1845:
1842:
1838:
1837:
1834:
1831:
1827:
1826:
1823:
1820:
1816:
1815:
1814:Natural minor
1812:
1809:
1805:
1804:
1801:
1798:
1794:
1793:
1790:
1787:
1772:
1771:
1768:
1764:
1763:
1760:
1756:
1755:
1752:
1748:
1747:
1744:
1740:
1739:
1736:
1683:
1673:
1658:
1643:
1605:
1590:
1575:
1560:
1555:in the modern
1545:
1542:
1540:
1537:
1527:
1526:
1515:
1512:
1509:
1506:
1503:
1500:
1497:
1494:
1490:
1489:
1478:
1475:
1472:
1469:
1466:
1463:
1460:
1457:
1453:
1452:
1441:
1438:
1435:
1432:
1429:
1426:
1423:
1420:
1416:
1415:
1404:
1401:
1398:
1395:
1392:
1389:
1386:
1383:
1379:
1378:
1367:
1364:
1361:
1358:
1355:
1352:
1349:
1346:
1334:diatonic scale
1323:
1322:
1307:
1302:
1301:
1300:
1291:
1290:
1289:
1286:
1285:
1279:
1277:
1271:
1269:
1263:
1261:
1254:
1253:
1250:
1233:
1230:
1213:
1210:
1193:
1189:
1188:
1171:
1169:
1152:
1150:
1133:
1131:
1113:
1112:
1109:
1106:
1103:
1101:
1098:
1096:
1092:
1091:
1076:
1075:
1060:
1055:
1054:
1053:
1044:
1043:
1042:
1039:
1038:
1032:
1030:
1024:
1022:
1016:
1014:
1007:
1006:
1003:
986:
983:
966:
963:
946:
942:
941:
924:
922:
905:
903:
886:
884:
866:
865:
862:
859:
856:
853:
850:
847:
843:
842:
834:
833:
822:
808:
803:
802:
801:
792:
791:
790:
787:
786:
780:
778:
772:
770:
764:
762:
755:
754:
751:
734:
731:
714:
711:
694:
690:
689:
672:
670:
653:
651:
634:
632:
614:
613:
610:
607:
604:
601:
598:
595:
591:
590:
576:
573:
569:
568:
526:
511:
508:
505:
501:
500:
458:
438:
434:
433:
430:
429:Phrygian scale
426:
425:
390:
377:Chromatic: E–D
375:
372:
369:
266:
265:
222:
221:
216:
202:
197:
182:
158:Main article:
155:
152:
79:
76:
60:perfect fourth
26:
24:
14:
13:
10:
9:
6:
4:
3:
2:
3553:
3542:
3539:
3537:
3534:
3532:
3529:
3528:
3526:
3511:
3508:
3504:
3501:
3499:
3496:
3494:
3491:
3489:
3486:
3484:
3481:
3479:
3476:
3474:
3471:
3469:
3466:
3465:
3464:
3461:
3459:
3456:
3452:
3449:
3448:
3447:
3444:
3440:
3437:
3436:
3435:
3432:
3430:
3427:
3425:
3422:
3421:
3418:
3413:
3409:
3405:
3398:
3393:
3391:
3386:
3384:
3379:
3378:
3375:
3368:
3364:
3363:Stanley Sadie
3360:
3359:
3354:
3351:
3350:0-582-28117-2
3347:
3343:
3339:
3336:
3333:
3329:
3328:Stanley Sadie
3325:
3324:
3319:
3318:
3314:
3308:
3306:0-945996-04-7
3302:
3298:
3294:
3293:
3288:
3283:
3279:
3275:
3271:
3267:
3266:
3265:
3264:
3254:
3248:
3245:
3241:
3235:
3232:
3228:
3222:
3219:
3216:, p. 20.
3215:
3214:Chalmers 1993
3210:
3207:
3203:
3202:0-931340-88-8
3199:
3195:
3191:
3187:
3183:
3178:
3175:
3172:, p. 58.
3171:
3166:
3163:
3159:
3154:
3151:
3147:
3141:
3138:
3134:
3128:
3126:
3122:
3118:
3112:
3109:
3105:
3102:
3098:
3097:
3092:
3091:0-300-02120-8
3088:
3084:
3083:0-300-01610-7
3080:
3076:
3072:
3067:
3064:
3060:
3059:
3054:
3048:
3045:
3041:
3037:
3033:
3028:
3025:
3021:
3020:
3015:
3009:
3006:
3002:
3001:
2996:
2992:
2991:J. K. Randall
2988:
2987:
2982:
2978:
2977:
2972:
2971:Edgard Varèse
2968:
2964:
2963:
2958:
2957:Martin Boykan
2954:
2950:
2949:John Harbison
2946:
2945:
2940:
2936:
2932:
2928:
2927:
2922:
2921:
2916:
2912:
2911:
2906:
2905:
2900:
2896:
2892:
2891:
2886:
2880:
2877:
2873:
2867:
2864:
2860:
2859:1-55553-169-5
2856:
2852:
2848:
2843:
2840:
2829:on 2015-06-18
2828:
2824:
2820:
2814:
2811:
2807:
2803:
2799:
2793:
2790:
2786:
2782:
2778:
2774:
2769:
2766:
2762:
2756:
2753:
2750:
2746:
2742:
2738:
2733:
2730:
2727:, p. 11.
2726:
2725:Chalmers 1993
2721:
2718:
2714:
2713:Chalmers 1993
2709:
2706:
2702:
2701:Chalmers 1993
2697:
2694:
2689:
2688:
2683:
2679:
2672:
2669:
2662:
2658:
2655:
2653:
2650:
2648:
2645:
2643:
2640:
2638:
2635:
2633:
2630:
2629:
2625:
2623:
2621:
2617:
2613:
2609:
2605:
2601:
2597:
2593:
2588:
2586:
2582:
2578:
2574:
2570:
2566:
2562:
2558:
2553:
2551:
2547:
2546:
2529:
2525:
2521:
2517:
2513:
2509:
2505:
2504:Henry Purcell
2501:
2495:
2493:
2485:
2483:
2481:
2480:Arabian maqam
2477:
2473:
2463:
2460:
2457:
2454:
2451:
2448:
2445:
2442:
2439:
2436:
2433:
2430:
2427:
2426:
2422:
2419:
2415:
2409:
2401:
2393:
2390:
2386:
2380:
2376:
2370:
2362:
2354:
2351:
2348:
2347:
2329:
2312:
2295:
2278:
2261:
2244:
2227:
2210:
2193:
2176:
2159:
2156:
2155:
2152:
2139:
2134:
2128:
2123:
2117:
2114:
2113:
2112:
2110:
2106:
2099:
2092:
2089:
2088:
2084:
2081:
2080:
2076:
2073:
2072:
2068:
2065:
2064:
2060:
2057:
2056:
2052:
2049:
2048:
2044:
2041:
2040:
2037:
2034:
2028:
2024:
2023:Carnatic rāga
2016:
2009:
2006:
2005:
2001:
1998:
1997:
1993:
1990:
1989:
1985:
1982:
1981:
1977:
1974:
1973:
1969:
1966:
1965:
1961:
1958:
1957:
1954:
1952:
1943:
1941:
1939:
1935:
1934:pitch classes
1931:
1930:
1925:
1921:
1914:
1912:
1905:
1903:
1882:
1879:
1876:
1875:
1871:
1868:
1866:Minor + major
1865:
1864:
1860:
1857:
1854:
1853:
1849:
1846:
1843:
1840:
1839:
1835:
1832:
1829:
1828:
1824:
1821:
1818:
1817:
1813:
1810:
1807:
1806:
1802:
1799:
1797:Major + major
1796:
1795:
1791:
1788:
1785:
1784:
1781:
1780:(2) between:
1779:
1769:
1766:
1765:
1761:
1758:
1757:
1753:
1750:
1749:
1745:
1742:
1741:
1737:
1734:
1733:
1730:
1728:
1724:
1695:
1688:
1678:
1663:
1648:
1641:
1637:
1634:
1629:
1610:
1595:
1580:
1565:
1558:
1554:
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1516:
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1510:
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1501:
1498:
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1479:
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1234:
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987:
984:
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596:
593:
592:
587:
584:
582:
574:
572:
565:
557:
549:
541:
533:
528:Enharmonic: C
527:
512:
509:
506:
503:
502:
497:
489:
481:
473:
465:
460:Enharmonic: D
459:
439:
436:
435:
431:
428:
427:
421:
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405:
397:
391:
376:
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308:
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296:
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288:
283:
281:
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260:
252:
244:
243:quarter tones
240:
236:
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198:
195:
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166:
161:
160:Genus (music)
153:
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144:
139:
137:
133:
124:
119:
110:
105:
101:
97:
93:
89:
85:
77:
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73:
69:
65:
61:
57:
53:
49:
41:
37:
33:
19:
3468:All-trichord
3451:All-interval
3445:
3367:John Tyrrell
3356:
3341:
3332:John Tyrrell
3321:
3297:Lou Harrison
3291:
3277:
3273:
3262:
3261:
3252:
3247:
3239:
3234:
3226:
3221:
3209:
3193:
3185:
3177:
3165:
3153:
3145:
3140:
3132:
3116:
3111:
3103:
3094:
3074:
3066:
3056:
3047:
3039:
3027:
3017:
3008:
2998:
2984:
2974:
2960:
2953:Eleanor Cory
2942:
2938:
2924:
2918:
2908:
2902:
2895:Steven Block
2888:
2879:
2871:
2866:
2850:
2842:
2831:. Retrieved
2827:the original
2822:
2813:
2797:
2792:
2776:
2768:
2760:
2755:
2740:
2732:
2720:
2708:
2703:, p. 8.
2696:
2686:
2671:
2599:
2595:
2591:
2589:
2564:
2560:
2557:Romantic Era
2554:
2550:Figurenlehre
2549:
2543:
2527:
2519:
2511:
2507:
2499:
2496:
2489:
2469:
2149:
2103:
2030:
1947:
1933:
1927:
1923:
1918:
1915:Atonal usage
1909:
1888:
1775:
1720:
1544:Romantic era
1530:
1338:
1329:
1326:
1079:
578:
570:
504:Lydian scale
440:Chromatic: D
368:Dorian scale
361:
357:
355:
350:
346:
342:
338:
334:
330:
326:
322:
318:
314:
310:
306:
302:
298:
294:
290:
286:
284:
279:
273:
267:
172:
168:
163:
140:
132:four strings
131:
117:
103:
95:
91:
90:(from Greek
87:
83:
81:
52:tetrachordum
35:
32:music theory
29:
3408:cardinality
3071:Allen Forte
2682:Tyrrell, J.
2647:Lament bass
2585:ground bass
2349:Note name:
1920:Allen Forte
1767:Upper Minor
1636:progression
1090:Enharmonic
446:–C–B | A–G
270:incomposite
239:major third
207:minor third
171:(singular:
102:bounded by
44:τετράχορδoν
18:Tetrachords
3525:Categories
3503:Schoenberg
3458:Pentachord
3446:Tetrachord
3338:Rahn, John
2915:Stravinsky
2833:2015-04-12
2663:References
2608:homophonic
2604:variations
2598:(Fr.), or
2581:minor mode
2577:homophonic
2573:variations
2565:complainte
2520:Qui tollis
2512:Crucifixus
2476:major tone
2021:See also:
1951:whole step
1924:tetrachord
1778:whole step
1735:Tetrachord
1539:Variations
841:Chromatic
827:media help
383:–C–B | A–G
329:, and the
219:Enharmonic
190:whole tone
148:whole tone
127:κινούμενοι
96:tetrachord
36:tetrachord
3510:Aggregate
3493:Petrushka
3473:Chromatic
3463:Hexachord
3272:(2001) .
3270:Al-Farabi
2678:Sadie, S.
2567:(Fr.) or
2561:complaint
2559:, called
2492:complaint
2151:strings:
2109:Al-Farabi
1557:B Locrian
1100:parhypate
852:parhypate
600:parhypate
589:Diatonic
339:parhypate
299:hypermese
291:parhypate
200:Chromatic
104:immovable
56:intervals
3478:Diatonic
3439:Viennese
3434:Trichord
3340:. 1980.
3085:(cloth)
3073:(1973).
3040:Intégral
2745:Archived
2684:(eds.).
2626:See also
2539:♯
2533:♯
2405:♭
2397:♭
2366:♯
2358:♯
2143:♯
2033:halfstep
1899:♭
1893:♯
1759:Harmonic
1705:♭
1699:♭
1670:♭
1655:♭
1640:bassline
1633:Phrygian
1602:♭
1587:♭
1572:♭
1105:lichanos
1082:Archytas
858:lichanos
606:lichanos
536:–B | A–G
522:♭
519:–F–E | D
516:♭
476:–B | A–G
455:♭
452:–F–E | D
449:♭
443:♭
408:–B │ A–G
386:♭
380:♭
351:paranete
343:lichanos
331:paramese
315:paranete
307:paramese
295:lichanos
212:♭
194:semitone
180:Diatonic
72:tone row
3263:Sources
2981:Debussy
2600:lytanie
2596:litanie
2528:lamento
2343:
2331:
2326:
2314:
2309:
2297:
2292:
2280:
2275:
2263:
2258:
2246:
2241:
2229:
2224:
2212:
2207:
2195:
2190:
2178:
2173:
2161:
2157:Ratio:
2105:Persian
2100:Persian
1511:(28:27)
1505:(36:35)
1474:(22:21)
1468:(12:11)
1437:(28:27)
1431:(15:14)
1400:(20:19)
1394:(19:18)
1363:(16:15)
1357:(25:24)
1248:
1236:
1228:
1216:
1208:
1196:
1186:
1174:
1167:
1155:
1148:
1136:
1129:
1117:
1001:
989:
981:
969:
961:
949:
939:
927:
920:
908:
901:
889:
882:
870:
749:
737:
729:
717:
709:
697:
687:
675:
668:
656:
649:
637:
630:
618:
301:), and
245:, e.g.
118:movable
113:ἑστῶτες
106:notes (
92:chordon
78:History
3498:Sacher
3483:Mystic
3348:
3303:
3200:
3089:
3081:
2935:Carter
2885:Dvořák
2857:
2804:
2783:
2652:Tetrad
2592:litany
2569:lament
2524:Mozart
2510:, the
2093:1 1 3
2085:1 2 2
2077:2 1 2
2069:1 3 1
2061:2 2 1
2053:3 1 1
2010:1 1 3
2002:1 2 2
1994:2 1 2
1986:1 3 1
1978:2 2 1
1970:3 1 1
1929:tetrad
1770:1 2 2
1762:1 3 1
1754:2 1 2
1746:2 2 1
1095:hypate
846:hypate
594:hypate
552:–E | D
492:–E | D
362:chroai
358:shades
323:hypate
321:. The
317:, and
287:hypate
280:pyknós
278:(from
275:pyknón
235:ditone
169:genera
143:octave
3424:Monad
3276:[
2429:Cents
2146:–B–C.
2137:–B–C.
2090:1 2 3
2082:2 1 3
2074:1 3 2
2066:2 2 2
2058:3 1 2
2050:3 2 1
2007:1 1 3
1999:1 2 2
1991:2 1 2
1983:1 3 1
1975:2 2 1
1967:3 1 1
1936:. In
1890:D–E–F
1751:Minor
1743:Major
1508:28:27
1499:(5:4)
1471:22:21
1462:(7:6)
1434:28:27
1425:(6:5)
1397:20:19
1388:(6:5)
1360:16:15
1351:(6:5)
1111:mese
864:mese
612:mese
347:trite
345:, or
311:trite
237:or a
215:–F–E.
186:cents
173:genus
123:Greek
109:Greek
88:chord
84:tetra
68:scale
64:cents
48:Latin
40:Greek
3429:Dyad
3412:list
3365:and
3346:ISBN
3330:and
3301:ISBN
3198:ISBN
3087:ISBN
3079:ISBN
2951:and
2855:ISBN
2802:ISBN
2781:ISBN
2642:Jins
2536:–G–F
2464:498
2461:408
2458:355
2455:303
2452:294
2449:204
2446:168
2443:145
2025:and
1631:The
1514:1:1
1477:1:1
1440:1:1
1428:10:9
1403:1:1
1391:10:9
1366:1:1
1354:10:9
1273:−386
1265:−435
1257:−498
1026:−294
1018:−408
1010:−498
978:2048
972:2187
774:−204
766:−408
758:−498
389:–F–E
349:and
341:and
335:nete
333:and
327:mese
325:and
319:nete
303:mese
297:(or
136:lyre
34:, a
3406:by
3055:",
3038:",
3016:",
2993:, "
2969:, "
2955:, "
2937:'s
2606:in
2594:or
2575:in
2563:or
2522:in
2514:in
2506:'s
2502:in
2472:Oud
2440:99
2437:90
2221:149
2215:162
2187:243
2181:256
2126:–C.
1708:–g)
1502:9:7
1496:4:3
1465:8:7
1459:4:3
1422:4:3
1385:4:3
1348:4:3
958:243
952:256
706:243
700:256
263:–E.
247:A–G
70:or
30:In
3527::
3192:,
3124:^
2849:,
2821:.
2775:,
2743:.
2739:,
2680:;
2552:.
2434:0
2431::
2423:F
2420:E
2391:D
2352:C
2323:64
2317:81
2306:22
2300:27
2289:68
2283:81
2272:27
2266:32
2238:49
2232:54
2204:17
2198:18
1953::
1702:–a
1692:.
1642::
1252:│
1225:35
1219:36
1205:27
1199:28
1084::
1005:│
998:27
992:32
917:27
911:32
898:64
892:81
753:│
646:64
640:81
560:–C
544:–F
525:–C
484:–F
468:–C
424:–E
416:–F
400:–C
313:,
309:,
293:,
289:,
255:–F
150:.
125::
111::
50::
46:;
42::
3414:)
3410:(
3396:e
3389:t
3382:v
3352:.
3309:.
3204:.
2861:.
2836:.
2808:.
2787:.
2410:E
2402:E
2394:E
2381:C
2371:C
2363:C
2355:C
2340:3
2337:/
2334:4
2320:/
2303:/
2286:/
2269:/
2255:8
2252:/
2249:9
2235:/
2218:/
2201:/
2184:/
2170:1
2167:/
2164:1
1682:–
1667:–
1652:–
1599:–
1584:–
1569:–
1283:¢
1281:0
1275:¢
1267:¢
1259:¢
1245:4
1242:/
1239:5
1232:│
1222:/
1212:│
1202:/
1192:│
1183:1
1180:/
1177:1
1164:4
1161:/
1158:5
1145:7
1142:/
1139:9
1126:3
1123:/
1120:4
1036:¢
1034:0
1028:¢
1020:¢
1012:¢
995:/
985:│
975:/
965:│
955:/
945:│
936:1
933:/
930:1
914:/
895:/
879:3
876:/
873:4
829:.
784:¢
782:0
776:¢
768:¢
760:¢
746:8
743:/
740:9
733:│
726:8
723:/
720:9
713:│
703:/
693:│
684:1
681:/
678:1
665:8
662:/
659:9
643:/
627:3
624:/
621:4
360:(
120:(
38:(
20:)
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