2122:
1283:
1036:
784:
214:
1617:
2374:
2364:
1538:
1676:
1666:
1651:
1636:
1598:
1583:
1568:
1553:
2403:
2111:
553:
537:
521:
477:
461:
409:
393:
248:
545:
529:
485:
469:
453:
401:
385:
240:
353:) 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.
1900:
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.
2139:
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
1899:
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
1316:
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
2024:
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
1937:
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
1891:–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).
193:
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
1510:
1301:
1878:
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
1054:
1938:
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
802:
2486:
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
2471:). 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.
1473:
134:
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
1436:
1399:
1362:
1511:
1302:
1702:
1055:
801:
1474:
2467:
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
1437:
1400:
1608:
222:
An enharmonic tetrachord has a characteristic interval that is greater than about four-fifths the total tetrachord interval. Classically, the characteristic interval is a
1363:
1292:
2599:
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
1045:
1703:
3346:
3311:
2674:
793:
1328:
The Greeks analyzed genera using various terms, including diatonic, enharmonic, and chromatic. Scales are constructed from conjunct or disjunct tetrachords.
2912:
21, no. 1 (Spring 1999): 43–73; Tuire Kuusi, "Subset-Class
Relation, Common Pitches, and Common Interval Structure Guiding Estimations of Similarity",
173:
A diatonic tetrachord has a characteristic interval that is less than or equal to half the total interval of the tetrachord (or approximately 249
1718:. Given the following vocabulary of tetrachords (the digits give the number of semitones in consecutive intervals of the tetrachord, adding to five):
1609:
560:
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.
3383:
271:, meaning "compressed"). This is the case for the chromatic and enharmonic tetrachords, but not the diatonic (meaning "stretched out") tetrachord.
2479:
The tetrachord, a fundamentally incomplete fragment, is the basis of two compositional forms constructed upon repetition of that fragment: the
2794:
2733:
1321:
of 9/8 (a
Pythagorean major second). Alternating conjunct and disjunct tetrachords form a scale that repeats in octaves (as in the familiar
3519:
2773:
1509:
1300:
3476:
1053:
3338:
3293:
3190:
3079:
3071:
2847:
803:
3066:, 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.
2568:
texture, wherein the bass descends through some tetrachord, possibly that of the previous paragraph, but usually one suggesting a
1472:
88:
2807:
3046:
1435:
1398:
1361:
3376:
1701:
2121:
3355:
3320:
3279:
2670:
3024:
2015:
2679:(second ed.). London, UK: Macmillan. 6 Music Theory, (iii) Aristoxenian Tradition, (d) Scales.
3041:
2988:
2964:
2950:
2898:
2093:
2129:
The fourth genre, corresponding to the Greek chromatic, has a tone and a half, a semitone and a semitone, as G–A
1607:
127:
or the kithara, with the implicit understanding that the four strings produced adjacent (i.e., conjunct) notes.
3524:
3084:
2974:
2932:
2104:
The first genre, corresponding to the Greek diatonic, is composed of a tone, a tone and a semitone, as G–A–B–C.
1521:
3089:
2603:. Because of the extreme brevity of the theme and number of repetitions required, and free of the binding of
2519:("complaint", "lamentation"), has been used until today. A variant form, the full chromatic descent (e.g. A–G
3529:
3439:
3369:
3007:
2892:
2620:
153:
2873:
3456:
2625:
164:) of tetrachords. These genera are characterized by the largest of the three intervals of the tetrachord:
3281:
Divisions of the
Tetrachord: A Prolegomenon [introduction] to the Construction of Musical Scales
2908:
2878:
2504:
2373:
2363:
1926:
1836:
1682:
1541:
177:). This characteristic interval is usually slightly smaller (approximately 200 cents), becoming a
3491:
2919:
258:
3461:
3400:
2725:
3466:
3178:
3124:, 2 vols., translated by John Fenstermaker (Paris: Alphonse Leduc, 1962): 2:35. ASIN: B0006CNH8E.
2761:
569:
345:
As the three genera simply represent ranges of possible intervals within the tetrachord, various
3104:
Reynold
Simpson, "New Sketches, Old Fragments, and Schoenberg's Third String Quartet, Op. 30",
2752:, 2 vols., translated by John Fenstermaker. Paris: Alphonse Leduc, 1962, 2:35. ASIN: B0006CNH8E.
213:
1675:
1665:
1650:
1635:
1597:
1582:
1567:
1552:
3427:
3334:
3289:
3186:
3075:
3067:
2843:
2790:
2769:
2604:
2592:
2561:
1711:
1624:
2107:
The second genre is composed of a tone, three quarter tones and three quarter tones, as G–A–B
3486:
2979:
2959:
2914:
2835:
2645:
2533:
2011:
1715:
1616:
1325:, created in such a manner from the diatonic genus), but this was not the only arrangement.
44:
544:
528:
484:
468:
452:
400:
384:
239:
3481:
3002:
2903:
2737:
2608:
2600:
2402:
2110:
1929:, the term may have the special sense of any consecutive four notes of a twelve-tone row.
552:
536:
520:
476:
460:
408:
392:
247:
181:. Classically, the diatonic tetrachord consists of two intervals of a tone and one of a
3361:
3275:
3020:
2983:
2969:
2955:
2923:
2887:
2640:
2545:
1917:
1322:
274:
Whatever the tuning of the tetrachord, its four degrees are named, in ascending order,
111:
97:
48:
36:
28:
198:(approximately 300 cents), and the two smaller intervals are equal semitones, e.g. A–G
3513:
3412:
3351:
3316:
2945:
2937:
2815:
2666:
2492:
2468:
1621:
1271:
1263:
1255:
1247:
1024:
1016:
1008:
1000:
772:
764:
756:
748:
207:
188:
168:
148:
56:
2118:
The third genre has a tone and a quarter, three quarter tones and a semitone, as G–A
3471:
3417:
3285:
3133:
Joanny
Grosset, "Inde. Histoire de la musique depuis l'origine jusqu'à nos jours",
3001:
Brent
Auerbach, "Tiered Polyphony and Its Determinative Role in the Piano Music of
2941:
2883:
2464:
2417:
1545:
231:
178:
174:
136:
52:
20:
2906:'s 'Construction of Twelve Verticals': An Aspect of Harmony in the Serial Music",
1537:
1069:
Here is a representative
Pythagorean tuning of the enharmonic genus attributed to
421:
The second note of the tetrachord (in descending order) is the first of the scale.
1700:
1606:
1508:
1471:
1434:
1397:
1360:
1299:
1052:
800:
496:
The third note of the tetrachord (in descending order) is the first of the scale.
217:
Two Greek tetrachords in the enharmonic genus, forming an enharmonic Dorian scale
3396:
3392:
3269:] (reprint) (in French). Translated by Rodolphe d'Erlanger. Paris: Geuthner.
3244:, 2 vols., translated by John Fenstermaker (Paris: Alphonse Leduc, 1962): 2:110.
3059:
2896:
38, no. 1 (Spring 1994): 21–41; Ian Quinn, "Listening to Similarity Relations",
2635:
2573:
2569:
2557:
2480:
2459:
If one considers that the interval of a fourth between the strings of the lute (
2096:
music divides the interval of a fourth differently than the Greek. For example,
1908:
227:
195:
3231:, 2 vols., translated by John Fenstermaker. Paris: Alphonse Leduc, 1937): 1:14.
2972:: Tonality, Motivic Sets and the Referential Pitch-Class Specific Collection",
3446:
3185:, translated by Laurie Schwartz. (Portland, Oregon: Amadeus Press, 1996): 19.
1939:
1766:
815:
47:. In traditional music theory, a tetrachord always spanned the interval of a
3451:
3326:
3258:
2596:
2565:
2097:
257:
When the composite of the two smaller intervals is less than the remaining (
3498:
3422:
2021:
1628:
1070:
182:
60:
2930:, With Notes on Narrative, Symmetry, Quantitative Flux and Heraclitus",
2463:) corresponds to a tetrachord, and that there are two tetrachords and a
1765:
the following scales could be derived by joining two tetrachords with a
1603:(b–a–g–f). This tetrachord spans a tritone instead of a perfect fourth.
1097:
2512:
360:
The first note of the tetrachord is also the first note of the scale.
263:
223:
131:
2872:
Benedict Taylor, "Modal Four-Note Pitch Collections in the Music of
2576:, is repeated again and again over the length of the composition.
1615:
1536:
294:
and, for the second tetrachord in the construction of the system,
212:
326:
are fixed, and a perfect fourth apart, while the position of the
3214:
Ellen Rosand, "The Descending Tetrachord: An Emblem of Lament",
2630:
124:
3365:
2968:
4, no. 2 (Spring–Summer 1966): 14–22; Annie K. Yih, "Analysing
123:, originally in reference to harp-like instruments such as the
2460:
3082:(pbk). Allen Forte (1985). "Pitch-Class Set Analysis Today".
3229:
Cours complet d'improvisation a l'orgue: Exercices preparées
1281:
1034:
782:
3333:. Longman Music Series. New York and London: Longman Inc..
3135:
Encyclopédie de la musique et Dictionnaire du Conservatoire
3116:
3114:
3108:
17, In Celebration of Arnold Schoenberg (1) (1992): 85–101.
2665:
Mathiesen, Thomas J. (2001). "Greece §I: Ancient". In
2515:'s Mass in C minor, KV 427, etc. This tetrachord, known as
1921:
or simply a "4-element set" – a set of any four pitches or
63:, not necessarily related to a particular tuning system.
55:)—but in modern use it means any four-note segment of a
850:
2579:
Another musical form, of the same time period, is the
2902:
39, no. 2 (Summer 2001): 108–158; Joseph N. Straus, "
2768:, 2 vols. (New York: Carl Fischer, 1941), 1:112–114.
2100:
describes four genres of the division of the fourth:
83:—"string" or "note"). In ancient Greek music theory,
2842:(Boston: Northeastern University Press, 1993): 120.
2840:
The "Style hongrois" in the Music of Western Europe
3040:Nors S. Josephson, "On Some Apparent Sketches for
2922:, "An Imagined Drama of Competitive Opposition in
16:Series of four notes separated by three intervals
3095:Conference 1984): 29–58, citations on 48–51, 53.
2607:to tetrachord in the lament, the breadth of the
3347:The New Grove Dictionary of Music and Musicians
3312:The New Grove Dictionary of Music and Musicians
2676:The New Grove Dictionary of Music and Musicians
2544:There exists a short, free musical form of the
261:) interval, the three-note group is called the
43:) is a series of four notes separated by three
3088:4, nos. 1 & 2 (March–July: Special Issue:
3023:, "Beethoven's Interrupted Tetrachord and the
3377:
2766:The Schillinger System of Musical Composition
8:
2572:. This tetrachord, treated as a very short
1548:(also known as the upper minor tetrachord):
3288:. Hanover, New Hampshire: Frog Peak Music.
572:of the diatonic and chromatic tetrachords:
3384:
3370:
3362:
2936:28, no. 2/3 (July–October 2009): 373–422;
51:, a 4:3 frequency proportion (approx. 498
3170:
3158:
3146:
3137:, vol. 1, Paris, Delagrave, 1914, p. 325.
2954:11, no. 2 (Spring–Summer 1973): 204–209;
2861:Tonarten und Stimmungen der Antiken Musik
2789:(Pacific, Missouri: Mel Bay, 2010): 111.
2591:(OE spur). It is also a set of harmonic
3202:
2713:
2701:
2689:
2027:
1944:
1771:
1720:
1330:
1293:Enharmonic tetrachord pythagorean tuning
3242:Cours complet d'improvisation a l'orgue
3122:Cours Complet d'Improvisation a l'Orgue
2992:2, no. 1 (Autumn–Winter 1963): 102–113.
2750:Cours Complet d'Improvisation a l'Orgue
2657:
1046:Chromatic tetrachord pythagorean tuning
3175:Das Arabische Tonsystem im Mittelalter
1685:: i–v6–iv6–V in C minor (bassline: c–b
813:
794:Diatonic tetrachord pythagorean tuning
598:
592:
2948:: String Quartet (1967): Two Views",
2863:, Kopenhagen, Ejnar Munksgaard, 1939.
2808:"Double harmonic scale and its modes"
2560:. It is typically a set of harmonic
1524:divisions by Chalmers after Hofmann.
75:(from Greek—"four of something") and
7:
2962:: A Few Observations of His Music",
2531:–F–E in A minor), has been known as
2507:'s Mass in B minor, BWV 232, or the
230:, and the two smaller intervals are
3173:, pp. 165–179; Liberty Manik,
1714:tuning were used to explain common
1371:Eratosthenes’ chromatic tetrachord
2918:25, no. 1 (September 2007): 1–11;
1915:to mean what he elsewhere calls a
89:greater and lesser perfect systems
14:
3177:(Leiden, E. J. Brill, 1969): 42;
2006:Indian-specific tetrachord system
3344:Roeder, John. 2001. "Set (ii)".
2978:19, no. 2 (July 2000): 203–229;
2882:32, no. 1 (Spring 2010): 44–59;
2401:
2372:
2362:
2120:
2109:
1698:
1674:
1664:
1649:
1634:
1627:creates a descending tetrachord
1604:
1596:
1581:
1566:
1551:
1506:
1469:
1432:
1395:
1358:
1297:
1050:
814:Problems playing this file? See
798:
551:
543:
535:
527:
519:
483:
475:
467:
459:
451:
407:
399:
391:
383:
246:
238:
105:); the notes between these were
3309:Anonymous. 2001. "Tetrachord".
3011:52, no. 2 (Fall 2008): 273–320.
2986:'s Composition for Orchestra",
1520:This is a partial table of the
3218:65, no. 3 (1979): 346–59.
2611:in litany is usually notable.
1334:Didymos’ chromatic tetrachord
1:
3274:Chalmers, John H. Jr (1993).
3064:The Structure of Atonal Music
2787:Advanced Lead Guitar Concepts
499:Diatonic: C–B | A–G–F–E | D–C
426:Diatonic: D–C–B | A–G–F–E | D
130:Modern music theory uses the
3350:, second edition, edited by
3315:, second edition, edited by
3047:Archiv für Musikwissenschaft
2890:and Intervallic Weighting",
1445:Ptolemy’s intense chromatic
2020:Tetrachords separated by a
1911:occasionally uses the term
1869:1 2 2 : 2 : 1 3 1
1858:2 1 2 : 2 : 2 2 1
1847:2 2 1 : 2 : 1 2 2
1833:1 3 1 : 2 : 1 3 1
1822:2 1 2 : 2 : 1 3 1
1811:2 2 1 : 2 : 1 3 1
1800:2 1 2 : 2 : 1 2 2
1789:2 2 1 : 2 : 2 2 1
363:Diatonic: E–D–C–B | A–G–F–E
156:theory distinguishes three
87:signified a segment of the
3546:
3520:Ancient Greek music theory
3042:Sibelius's Eighth Symphony
2016:Hindustani classical music
2009:
146:
143:Ancient Greek music theory
3408:
2989:Perspectives of New Music
2965:Perspectives of New Music
2951:Perspectives of New Music
2899:Perspectives of New Music
1885:–G, the C minor one C–D–E
1408:Ptolemy’s soft chromatic
1277:
1078:
1030:
829:
778:
577:
568:Here are the traditional
115:
101:
32:
3278:; Carter Scholz (eds.).
3263:Kitābu l-mūsīqī al-kabīr
3050:61, no. 1 (2004): 54–67.
3008:Journal of Music Theory
2893:Journal of Music Theory
2859:Otto Johannes Gombosi,
2785:Joshua Craig Podolsky,
2621:All-interval tetrachord
2489:When I am laid in earth
1710:Tetrachords based upon
3240:Marcel Dupré, (1962).
3183:The Music of the Arabs
2726:"Phrygian Progression"
2626:Diatonic and chromatic
1866:Upper minor + harmonic
1707:
1613:
1286:
1039:
787:
218:
119:). It literally means
40:
3216:The Musical Quarterly
3090:King's College London
2909:Music Theory Spectrum
2879:Music Theory Spectrum
2876:'s American Period",
2505:Johann Sebastian Bach
1895:20th-century analysis
1837:Double harmonic scale
1775:Component tetrachords
1683:Phrygian half cadence
1619:
1542:Descending tetrachord
1540:
1482:Archytas’ enharmonic
1285:
1038:
786:
216:
3358:. London: Macmillan.
3323:. London: Macmillan.
2886:and Jack Douthett, "
2730:Classical Music Blog
502:Chromatic: C–B | A–G
71:The name comes from
3331:Basic Atonal Theory
3106:Theory and Practice
2475:Compositional forms
1844:Major + upper minor
1830:Harmonic + harmonic
1797:Minor + upper minor
570:Pythagorean tunings
564:Pythagorean tunings
154:Ancient Greek music
3179:Habib Hassan Touma
2762:Joseph Schillinger
2736:2011-10-06 at the
2609:harmonic excursion
2534:Passus duriusculus
2034:Upper tetrachords
1951:Upper tetrachords
1933:Non-Western scales
1927:twelve-tone theory
1708:
1614:
1287:
1040:
788:
219:
3507:
3506:
3477:"Ode-to-Napoleon"
3149:, pp. 56–57.
3031:5 (1991): 77–100.
2920:Joshua B. Mailman
2795:978-0-7866-8236-2
2605:chord progression
2457:
2456:
2086:
2085:
2031:Lower tetrachords
2025:karnatic modes".
2003:
2002:
1948:Lower tetrachords
1876:
1875:
1872:Neapolitan minor
1763:
1762:
1716:heptatonic scales
1712:equal temperament
1704:
1610:
1518:
1517:
1512:
1475:
1438:
1401:
1364:
1314:
1313:
1303:
1067:
1066:
1056:
825:
824:
804:
3537:
3386:
3379:
3372:
3363:
3299:
3270:
3267:La musique arabe
3245:
3238:
3232:
3225:
3219:
3212:
3206:
3200:
3194:
3168:
3162:
3156:
3150:
3144:
3138:
3131:
3125:
3118:
3109:
3102:
3096:
3057:
3051:
3038:
3032:
3025:Seventh Symphony
3018:
3012:
2999:
2993:
2915:Music Perception
2870:
2864:
2857:
2851:
2836:Jonathan Bellman
2833:
2827:
2826:
2824:
2823:
2814:. Archived from
2812:docs.solfege.org
2804:
2798:
2783:
2777:
2759:
2753:
2746:
2740:
2723:
2717:
2711:
2705:
2699:
2693:
2687:
2681:
2680:
2662:
2646:Tetratonic scale
2530:
2529:
2524:
2523:
2483:and the litany.
2406:
2405:
2396:
2395:
2388:
2387:
2377:
2376:
2367:
2366:
2357:
2356:
2349:
2348:
2333:
2331:
2330:
2327:
2324:
2316:
2314:
2313:
2310:
2307:
2299:
2297:
2296:
2293:
2290:
2282:
2280:
2279:
2276:
2273:
2265:
2263:
2262:
2259:
2256:
2248:
2246:
2245:
2242:
2239:
2231:
2229:
2228:
2225:
2222:
2214:
2212:
2211:
2208:
2205:
2197:
2195:
2194:
2191:
2188:
2180:
2178:
2177:
2174:
2171:
2163:
2161:
2160:
2157:
2154:
2143:
2142:
2134:
2133:
2125:
2124:
2114:
2113:
2028:
1945:
1890:
1889:
1884:
1883:
1819:Minor + harmonic
1808:Major + harmonic
1781:Resulting scale
1772:
1727:Halfstep String
1721:
1706:
1705:
1696:
1695:
1690:
1689:
1679:
1678:
1669:
1668:
1661:
1660:
1654:
1653:
1646:
1645:
1639:
1638:
1612:
1611:
1601:
1600:
1593:
1592:
1586:
1585:
1578:
1577:
1571:
1570:
1563:
1562:
1556:
1555:
1514:
1513:
1477:
1476:
1440:
1439:
1403:
1402:
1366:
1365:
1331:
1319:disjunctive tone
1305:
1304:
1284:
1238:
1236:
1235:
1232:
1229:
1218:
1216:
1215:
1212:
1209:
1198:
1196:
1195:
1192:
1189:
1176:
1174:
1173:
1170:
1167:
1157:
1155:
1154:
1151:
1148:
1138:
1136:
1135:
1132:
1129:
1119:
1117:
1116:
1113:
1110:
1076:
1075:
1058:
1057:
1037:
991:
989:
988:
985:
982:
971:
969:
968:
965:
962:
951:
949:
948:
945:
942:
929:
927:
926:
923:
920:
910:
908:
907:
904:
901:
891:
889:
888:
885:
882:
872:
870:
869:
866:
863:
838:
827:
826:
806:
805:
785:
739:
737:
736:
733:
730:
719:
717:
716:
713:
710:
699:
697:
696:
693:
690:
677:
675:
674:
671:
668:
658:
656:
655:
652:
649:
639:
637:
636:
633:
630:
620:
618:
617:
614:
611:
586:
575:
574:
556:
555:
548:
547:
540:
539:
532:
531:
524:
523:
513:
512:
507:
506:
488:
487:
480:
479:
472:
471:
464:
463:
456:
455:
446:
445:
440:
439:
434:
433:
412:
411:
404:
403:
396:
395:
388:
387:
377:
376:
371:
370:
253:
251:
250:
243:
242:
203:
202:
118:
117:
104:
103:
34:
3545:
3544:
3540:
3539:
3538:
3536:
3535:
3534:
3525:Music of Greece
3510:
3509:
3508:
3503:
3404:
3390:
3306:
3304:Further reading
3296:
3273:
3257:
3249:
3248:
3239:
3235:
3226:
3222:
3213:
3209:
3201:
3197:
3169:
3165:
3157:
3153:
3145:
3141:
3132:
3128:
3119:
3112:
3103:
3099:
3058:
3054:
3039:
3035:
3019:
3015:
3003:Johannes Brahms
3000:
2996:
2928:Scrivo in Vento
2888:Vector Products
2871:
2867:
2858:
2854:
2834:
2830:
2821:
2819:
2806:
2805:
2801:
2784:
2780:
2760:
2756:
2747:
2743:
2738:Wayback Machine
2724:
2720:
2712:
2708:
2700:
2696:
2688:
2684:
2664:
2663:
2659:
2654:
2617:
2601:chorale prelude
2537:in the Baroque
2527:
2526:
2521:
2520:
2497:Dido and Aeneas
2477:
2400:
2393:
2392:
2385:
2384:
2371:
2361:
2354:
2353:
2346:
2345:
2328:
2325:
2322:
2321:
2319:
2311:
2308:
2305:
2304:
2302:
2294:
2291:
2288:
2287:
2285:
2277:
2274:
2271:
2270:
2268:
2260:
2257:
2254:
2253:
2251:
2243:
2240:
2237:
2236:
2234:
2226:
2223:
2220:
2219:
2217:
2209:
2206:
2203:
2202:
2200:
2192:
2189:
2186:
2185:
2183:
2175:
2172:
2169:
2168:
2166:
2158:
2155:
2152:
2151:
2149:
2131:
2130:
2119:
2108:
2091:
2018:
2008:
1935:
1906:
1897:
1887:
1886:
1881:
1880:
1839:or Gypsy major
1825:Harmonic minor
1814:Harmonic major
1792:Diatonic major
1778:Halfstep string
1699:
1693:
1692:
1687:
1686:
1680:
1673:
1670:
1663:
1658:
1657:
1655:
1648:
1643:
1642:
1640:
1633:
1605:
1602:
1595:
1590:
1589:
1587:
1580:
1575:
1574:
1572:
1565:
1560:
1559:
1557:
1550:
1535:
1530:
1522:superparticular
1507:
1470:
1433:
1396:
1359:
1317:separated by a
1310:
1309:
1308:
1307:
1306:
1298:
1295:
1288:
1282:
1233:
1230:
1227:
1226:
1224:
1213:
1210:
1207:
1206:
1204:
1193:
1190:
1187:
1186:
1184:
1171:
1168:
1165:
1164:
1162:
1152:
1149:
1146:
1145:
1143:
1133:
1130:
1127:
1126:
1124:
1114:
1111:
1108:
1107:
1105:
1063:
1062:
1061:
1060:
1059:
1051:
1048:
1041:
1035:
986:
983:
980:
979:
977:
966:
963:
960:
959:
957:
946:
943:
940:
939:
937:
924:
921:
918:
917:
915:
905:
902:
899:
898:
896:
886:
883:
880:
879:
877:
867:
864:
861:
860:
858:
844:
821:
820:
812:
810:
809:
808:
807:
799:
796:
789:
783:
734:
731:
728:
727:
725:
714:
711:
708:
707:
705:
694:
691:
688:
687:
685:
672:
669:
666:
665:
663:
653:
650:
647:
646:
644:
634:
631:
628:
627:
625:
615:
612:
609:
608:
606:
566:
550:
542:
534:
526:
518:
510:
509:
504:
503:
482:
474:
466:
458:
450:
443:
442:
437:
436:
431:
430:
406:
398:
390:
382:
381:Enharmonic: E–D
374:
373:
368:
367:
342:, are movable.
245:
237:
235:
200:
199:
185:, e.g. A–G–F–E.
151:
145:
110:
96:
69:
17:
12:
11:
5:
3543:
3541:
3533:
3532:
3530:Musical scales
3527:
3522:
3512:
3511:
3505:
3504:
3502:
3501:
3496:
3495:
3494:
3489:
3484:
3479:
3474:
3469:
3464:
3459:
3449:
3444:
3443:
3442:
3432:
3431:
3430:
3420:
3415:
3409:
3406:
3405:
3393:Pitch segments
3391:
3389:
3388:
3381:
3374:
3366:
3360:
3359:
3342:
3324:
3305:
3302:
3301:
3300:
3294:
3284:. foreword by
3276:Larry Polansky
3271:
3247:
3246:
3233:
3227:Marcel Dupré,
3220:
3207:
3195:
3171:Al-Farabi 2001
3163:
3159:Al-Farabi 2001
3151:
3147:Al-Farabi 2001
3139:
3126:
3120:Marcel Dupré,
3110:
3097:
3093:Music Analysis
3085:Music Analysis
3052:
3033:
3021:Robert Gauldin
3013:
2994:
2984:Godfrey Winham
2975:Music Analysis
2956:Milton Babbitt
2933:Music Analysis
2865:
2852:
2828:
2799:
2778:
2774:978-0306775215
2754:
2748:Marcel Dupré,
2741:
2718:
2706:
2704:, p. 103.
2694:
2682:
2656:
2655:
2653:
2650:
2649:
2648:
2643:
2638:
2633:
2628:
2623:
2616:
2613:
2476:
2473:
2455:
2454:
2451:
2448:
2445:
2442:
2439:
2436:
2433:
2430:
2427:
2424:
2421:
2414:
2413:
2410:
2407:
2397:
2389:
2381:
2378:
2368:
2358:
2350:
2342:
2339:
2335:
2334:
2317:
2300:
2283:
2266:
2249:
2232:
2215:
2198:
2181:
2164:
2147:
2137:
2136:
2127:
2116:
2105:
2090:
2087:
2084:
2083:
2080:
2076:
2075:
2072:
2068:
2067:
2064:
2060:
2059:
2056:
2052:
2051:
2048:
2044:
2043:
2040:
2036:
2035:
2032:
2007:
2004:
2001:
2000:
1997:
1993:
1992:
1989:
1985:
1984:
1981:
1977:
1976:
1973:
1969:
1968:
1965:
1961:
1960:
1957:
1953:
1952:
1949:
1934:
1931:
1905:
1902:
1896:
1893:
1874:
1873:
1870:
1867:
1863:
1862:
1861:Melodic minor
1859:
1856:
1852:
1851:
1850:Melodic major
1848:
1845:
1841:
1840:
1834:
1831:
1827:
1826:
1823:
1820:
1816:
1815:
1812:
1809:
1805:
1804:
1803:Natural minor
1801:
1798:
1794:
1793:
1790:
1787:
1783:
1782:
1779:
1776:
1761:
1760:
1757:
1753:
1752:
1749:
1745:
1744:
1741:
1737:
1736:
1733:
1729:
1728:
1725:
1672:
1662:
1647:
1632:
1594:
1579:
1564:
1549:
1544:in the modern
1534:
1531:
1529:
1526:
1516:
1515:
1504:
1501:
1498:
1495:
1492:
1489:
1486:
1483:
1479:
1478:
1467:
1464:
1461:
1458:
1455:
1452:
1449:
1446:
1442:
1441:
1430:
1427:
1424:
1421:
1418:
1415:
1412:
1409:
1405:
1404:
1393:
1390:
1387:
1384:
1381:
1378:
1375:
1372:
1368:
1367:
1356:
1353:
1350:
1347:
1344:
1341:
1338:
1335:
1323:diatonic scale
1312:
1311:
1296:
1291:
1290:
1289:
1280:
1279:
1278:
1275:
1274:
1268:
1266:
1260:
1258:
1252:
1250:
1243:
1242:
1239:
1222:
1219:
1202:
1199:
1182:
1178:
1177:
1160:
1158:
1141:
1139:
1122:
1120:
1102:
1101:
1098:
1095:
1092:
1090:
1087:
1085:
1081:
1080:
1065:
1064:
1049:
1044:
1043:
1042:
1033:
1032:
1031:
1028:
1027:
1021:
1019:
1013:
1011:
1005:
1003:
996:
995:
992:
975:
972:
955:
952:
935:
931:
930:
913:
911:
894:
892:
875:
873:
855:
854:
851:
848:
845:
842:
839:
836:
832:
831:
823:
822:
811:
797:
792:
791:
790:
781:
780:
779:
776:
775:
769:
767:
761:
759:
753:
751:
744:
743:
740:
723:
720:
703:
700:
683:
679:
678:
661:
659:
642:
640:
623:
621:
603:
602:
599:
596:
593:
590:
587:
584:
580:
579:
565:
562:
558:
557:
515:
500:
497:
494:
490:
489:
447:
427:
423:
422:
419:
418:Phrygian scale
415:
414:
379:
366:Chromatic: E–D
364:
361:
358:
255:
254:
211:
210:
205:
191:
186:
171:
147:Main article:
144:
141:
68:
65:
49:perfect fourth
15:
13:
10:
9:
6:
4:
3:
2:
3542:
3531:
3528:
3526:
3523:
3521:
3518:
3517:
3515:
3500:
3497:
3493:
3490:
3488:
3485:
3483:
3480:
3478:
3475:
3473:
3470:
3468:
3465:
3463:
3460:
3458:
3455:
3454:
3453:
3450:
3448:
3445:
3441:
3438:
3437:
3436:
3433:
3429:
3426:
3425:
3424:
3421:
3419:
3416:
3414:
3411:
3410:
3407:
3402:
3398:
3394:
3387:
3382:
3380:
3375:
3373:
3368:
3367:
3364:
3357:
3353:
3352:Stanley Sadie
3349:
3348:
3343:
3340:
3339:0-582-28117-2
3336:
3332:
3328:
3325:
3322:
3318:
3317:Stanley Sadie
3314:
3313:
3308:
3307:
3303:
3297:
3295:0-945996-04-7
3291:
3287:
3283:
3282:
3277:
3272:
3268:
3264:
3260:
3256:
3255:
3254:
3253:
3243:
3237:
3234:
3230:
3224:
3221:
3217:
3211:
3208:
3205:, p. 20.
3204:
3203:Chalmers 1993
3199:
3196:
3192:
3191:0-931340-88-8
3188:
3184:
3180:
3176:
3172:
3167:
3164:
3161:, p. 58.
3160:
3155:
3152:
3148:
3143:
3140:
3136:
3130:
3127:
3123:
3117:
3115:
3111:
3107:
3101:
3098:
3094:
3091:
3087:
3086:
3081:
3080:0-300-02120-8
3077:
3073:
3072:0-300-01610-7
3069:
3065:
3061:
3056:
3053:
3049:
3048:
3043:
3037:
3034:
3030:
3026:
3022:
3017:
3014:
3010:
3009:
3004:
2998:
2995:
2991:
2990:
2985:
2981:
2980:J. K. Randall
2977:
2976:
2971:
2967:
2966:
2961:
2960:Edgard Varèse
2957:
2953:
2952:
2947:
2946:Martin Boykan
2943:
2939:
2938:John Harbison
2935:
2934:
2929:
2925:
2921:
2917:
2916:
2911:
2910:
2905:
2901:
2900:
2895:
2894:
2889:
2885:
2881:
2880:
2875:
2869:
2866:
2862:
2856:
2853:
2849:
2848:1-55553-169-5
2845:
2841:
2837:
2832:
2829:
2818:on 2015-06-18
2817:
2813:
2809:
2803:
2800:
2796:
2792:
2788:
2782:
2779:
2775:
2771:
2767:
2763:
2758:
2755:
2751:
2745:
2742:
2739:
2735:
2731:
2727:
2722:
2719:
2716:, p. 11.
2715:
2714:Chalmers 1993
2710:
2707:
2703:
2702:Chalmers 1993
2698:
2695:
2691:
2690:Chalmers 1993
2686:
2683:
2678:
2677:
2672:
2668:
2661:
2658:
2651:
2647:
2644:
2642:
2639:
2637:
2634:
2632:
2629:
2627:
2624:
2622:
2619:
2618:
2614:
2612:
2610:
2606:
2602:
2598:
2594:
2590:
2586:
2582:
2577:
2575:
2571:
2567:
2563:
2559:
2555:
2551:
2547:
2542:
2540:
2536:
2535:
2518:
2514:
2510:
2506:
2502:
2498:
2494:
2493:Henry Purcell
2490:
2484:
2482:
2474:
2472:
2470:
2469:Arabian maqam
2466:
2462:
2452:
2449:
2446:
2443:
2440:
2437:
2434:
2431:
2428:
2425:
2422:
2419:
2416:
2415:
2411:
2408:
2404:
2398:
2390:
2382:
2379:
2375:
2369:
2365:
2359:
2351:
2343:
2340:
2337:
2336:
2318:
2301:
2284:
2267:
2250:
2233:
2216:
2199:
2182:
2165:
2148:
2145:
2144:
2141:
2128:
2123:
2117:
2112:
2106:
2103:
2102:
2101:
2099:
2095:
2088:
2081:
2078:
2077:
2073:
2070:
2069:
2065:
2062:
2061:
2057:
2054:
2053:
2049:
2046:
2045:
2041:
2038:
2037:
2033:
2030:
2029:
2026:
2023:
2017:
2013:
2012:Carnatic rāga
2005:
1998:
1995:
1994:
1990:
1987:
1986:
1982:
1979:
1978:
1974:
1971:
1970:
1966:
1963:
1962:
1958:
1955:
1954:
1950:
1947:
1946:
1943:
1941:
1932:
1930:
1928:
1924:
1923:pitch classes
1920:
1919:
1914:
1910:
1903:
1901:
1894:
1892:
1871:
1868:
1865:
1864:
1860:
1857:
1855:Minor + major
1854:
1853:
1849:
1846:
1843:
1842:
1838:
1835:
1832:
1829:
1828:
1824:
1821:
1818:
1817:
1813:
1810:
1807:
1806:
1802:
1799:
1796:
1795:
1791:
1788:
1786:Major + major
1785:
1784:
1780:
1777:
1774:
1773:
1770:
1769:(2) between:
1768:
1758:
1755:
1754:
1750:
1747:
1746:
1742:
1739:
1738:
1734:
1731:
1730:
1726:
1723:
1722:
1719:
1717:
1713:
1684:
1677:
1667:
1652:
1637:
1630:
1626:
1623:
1618:
1599:
1584:
1569:
1554:
1547:
1543:
1539:
1532:
1527:
1525:
1523:
1505:
1502:
1499:
1496:
1493:
1490:
1487:
1484:
1481:
1480:
1468:
1465:
1462:
1459:
1456:
1453:
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1447:
1444:
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1431:
1428:
1425:
1422:
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1394:
1391:
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1385:
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1183:
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1123:
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1103:
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1083:
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1077:
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1002:
998:
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914:
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828:
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766:
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750:
746:
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724:
721:
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684:
681:
680:
662:
660:
643:
641:
624:
622:
605:
604:
600:
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591:
588:
585:
582:
581:
576:
573:
571:
563:
561:
554:
546:
538:
530:
522:
517:Enharmonic: C
516:
501:
498:
495:
492:
491:
486:
478:
470:
462:
454:
449:Enharmonic: D
448:
428:
425:
424:
420:
417:
416:
410:
402:
394:
386:
380:
365:
362:
359:
356:
355:
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343:
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337:
333:
329:
325:
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301:
297:
293:
289:
285:
281:
277:
272:
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266:
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260:
249:
241:
233:
232:quarter tones
229:
225:
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197:
192:
190:
187:
184:
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176:
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170:
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159:
155:
150:
149:Genus (music)
142:
140:
138:
133:
128:
126:
122:
113:
108:
99:
94:
90:
86:
82:
78:
74:
66:
64:
62:
58:
54:
50:
46:
42:
38:
30:
26:
22:
3457:All-trichord
3440:All-interval
3434:
3356:John Tyrrell
3345:
3330:
3321:John Tyrrell
3310:
3286:Lou Harrison
3280:
3266:
3262:
3251:
3250:
3241:
3236:
3228:
3223:
3215:
3210:
3198:
3182:
3174:
3166:
3154:
3142:
3134:
3129:
3121:
3105:
3100:
3092:
3083:
3063:
3055:
3045:
3036:
3028:
3016:
3006:
2997:
2987:
2973:
2963:
2949:
2942:Eleanor Cory
2931:
2927:
2913:
2907:
2897:
2891:
2884:Steven Block
2877:
2868:
2860:
2855:
2839:
2831:
2820:. Retrieved
2816:the original
2811:
2802:
2786:
2781:
2765:
2757:
2749:
2744:
2729:
2721:
2709:
2697:
2692:, p. 8.
2685:
2675:
2660:
2588:
2584:
2580:
2578:
2553:
2549:
2546:Romantic Era
2543:
2539:Figurenlehre
2538:
2532:
2516:
2508:
2500:
2496:
2488:
2485:
2478:
2458:
2138:
2092:
2019:
1936:
1922:
1916:
1912:
1907:
1904:Atonal usage
1898:
1877:
1764:
1709:
1533:Romantic era
1519:
1327:
1318:
1315:
1068:
567:
559:
493:Lydian scale
429:Chromatic: D
357:Dorian scale
350:
346:
344:
339:
335:
331:
327:
323:
319:
315:
311:
307:
303:
299:
295:
291:
287:
283:
279:
275:
273:
268:
262:
256:
161:
157:
152:
129:
121:four strings
120:
106:
92:
84:
80:
79:(from Greek
76:
72:
70:
41:tetrachordum
24:
21:music theory
18:
3397:cardinality
3060:Allen Forte
2671:Tyrrell, J.
2636:Lament bass
2574:ground bass
2338:Note name:
1909:Allen Forte
1756:Upper Minor
1625:progression
1079:Enharmonic
435:–C–B | A–G
259:incomposite
228:major third
196:minor third
160:(singular:
91:bounded by
33:τετράχορδoν
3514:Categories
3492:Schoenberg
3447:Pentachord
3435:Tetrachord
3327:Rahn, John
2904:Stravinsky
2822:2015-04-12
2652:References
2597:homophonic
2593:variations
2587:(Fr.), or
2570:minor mode
2566:homophonic
2562:variations
2554:complainte
2509:Qui tollis
2501:Crucifixus
2465:major tone
2010:See also:
1940:whole step
1913:tetrachord
1767:whole step
1724:Tetrachord
1528:Variations
830:Chromatic
816:media help
372:–C–B | A–G
318:, and the
208:Enharmonic
179:whole tone
137:whole tone
116:κινούμενοι
85:tetrachord
25:tetrachord
3499:Aggregate
3482:Petrushka
3462:Chromatic
3452:Hexachord
3261:(2001) .
3259:Al-Farabi
2667:Sadie, S.
2556:(Fr.) or
2550:complaint
2548:, called
2481:complaint
2140:strings:
2098:Al-Farabi
1546:B Locrian
1089:parhypate
841:parhypate
589:parhypate
578:Diatonic
328:parhypate
288:hypermese
280:parhypate
189:Chromatic
93:immovable
45:intervals
3467:Diatonic
3428:Viennese
3423:Trichord
3329:. 1980.
3074:(cloth)
3062:(1973).
3029:Intégral
2734:Archived
2673:(eds.).
2615:See also
2528:♯
2522:♯
2394:♭
2386:♭
2355:♯
2347:♯
2132:♯
2022:halfstep
1888:♭
1882:♯
1748:Harmonic
1694:♭
1688:♭
1659:♭
1644:♭
1629:bassline
1622:Phrygian
1591:♭
1576:♭
1561:♭
1094:lichanos
1071:Archytas
847:lichanos
595:lichanos
525:–B | A–G
511:♭
508:–F–E | D
505:♭
465:–B | A–G
444:♭
441:–F–E | D
438:♭
432:♭
397:–B │ A–G
375:♭
369:♭
340:paranete
332:lichanos
320:paramese
304:paranete
296:paramese
284:lichanos
201:♭
183:semitone
169:Diatonic
61:tone row
3252:Sources
2970:Debussy
2589:lytanie
2585:litanie
2517:lamento
2332:
2320:
2315:
2303:
2298:
2286:
2281:
2269:
2264:
2252:
2247:
2235:
2230:
2218:
2213:
2201:
2196:
2184:
2179:
2167:
2162:
2150:
2146:Ratio:
2094:Persian
2089:Persian
1500:(28:27)
1494:(36:35)
1463:(22:21)
1457:(12:11)
1426:(28:27)
1420:(15:14)
1389:(20:19)
1383:(19:18)
1352:(16:15)
1346:(25:24)
1237:
1225:
1217:
1205:
1197:
1185:
1175:
1163:
1156:
1144:
1137:
1125:
1118:
1106:
990:
978:
970:
958:
950:
938:
928:
916:
909:
897:
890:
878:
871:
859:
738:
726:
718:
706:
698:
686:
676:
664:
657:
645:
638:
626:
619:
607:
290:), and
234:, e.g.
107:movable
102:ἑστῶτες
95:notes (
81:chordon
67:History
3487:Sacher
3472:Mystic
3337:
3292:
3189:
3078:
3070:
2924:Carter
2874:Dvořák
2846:
2793:
2772:
2641:Tetrad
2581:litany
2558:lament
2513:Mozart
2499:, the
2082:1 1 3
2074:1 2 2
2066:2 1 2
2058:1 3 1
2050:2 2 1
2042:3 1 1
1999:1 1 3
1991:1 2 2
1983:2 1 2
1975:1 3 1
1967:2 2 1
1959:3 1 1
1918:tetrad
1759:1 2 2
1751:1 3 1
1743:2 1 2
1735:2 2 1
1084:hypate
835:hypate
583:hypate
541:–E | D
481:–E | D
351:chroai
347:shades
312:hypate
310:. The
306:, and
276:hypate
269:pyknós
267:(from
264:pyknón
224:ditone
158:genera
132:octave
3413:Monad
3265:[
2418:Cents
2135:–B–C.
2126:–B–C.
2079:1 2 3
2071:2 1 3
2063:1 3 2
2055:2 2 2
2047:3 1 2
2039:3 2 1
1996:1 1 3
1988:1 2 2
1980:2 1 2
1972:1 3 1
1964:2 2 1
1956:3 1 1
1925:. In
1879:D–E–F
1740:Minor
1732:Major
1497:28:27
1488:(5:4)
1460:22:21
1451:(7:6)
1423:28:27
1414:(6:5)
1386:20:19
1377:(6:5)
1349:16:15
1340:(6:5)
1100:mese
853:mese
601:mese
336:trite
334:, or
300:trite
226:or a
204:–F–E.
175:cents
162:genus
112:Greek
98:Greek
77:chord
73:tetra
57:scale
53:cents
37:Latin
29:Greek
3418:Dyad
3401:list
3354:and
3335:ISBN
3319:and
3290:ISBN
3187:ISBN
3076:ISBN
3068:ISBN
2940:and
2844:ISBN
2791:ISBN
2770:ISBN
2631:Jins
2525:–G–F
2453:498
2450:408
2447:355
2444:303
2441:294
2438:204
2435:168
2432:145
2014:and
1620:The
1503:1:1
1466:1:1
1429:1:1
1417:10:9
1392:1:1
1380:10:9
1355:1:1
1343:10:9
1262:−386
1254:−435
1246:−498
1015:−294
1007:−408
999:−498
967:2048
961:2187
763:−204
755:−408
747:−498
378:–F–E
338:and
330:and
324:nete
322:and
316:mese
314:and
308:nete
292:mese
286:(or
125:lyre
23:, a
3395:by
3044:",
3027:",
3005:",
2982:, "
2958:, "
2944:, "
2926:'s
2595:in
2583:or
2564:in
2552:or
2511:in
2503:in
2495:'s
2491:in
2461:Oud
2429:99
2426:90
2210:149
2204:162
2176:243
2170:256
2115:–C.
1697:–g)
1491:9:7
1485:4:3
1454:8:7
1448:4:3
1411:4:3
1374:4:3
1337:4:3
947:243
941:256
695:243
689:256
252:–E.
236:A–G
59:or
19:In
3516::
3181:,
3113:^
2838:,
2810:.
2764:,
2732:.
2728:,
2669:;
2541:.
2423:0
2420::
2412:F
2409:E
2380:D
2341:C
2312:64
2306:81
2295:22
2289:27
2278:68
2272:81
2261:27
2255:32
2227:49
2221:54
2193:17
2187:18
1942::
1691:–a
1681:.
1631::
1241:│
1214:35
1208:36
1194:27
1188:28
1073::
994:│
987:27
981:32
906:27
900:32
887:64
881:81
742:│
635:64
629:81
549:–C
533:–F
514:–C
473:–F
457:–C
413:–E
405:–F
389:–C
302:,
298:,
282:,
278:,
244:–F
139:.
114::
100::
39::
35:;
31::
3403:)
3399:(
3385:e
3378:t
3371:v
3341:.
3298:.
3193:.
2850:.
2825:.
2797:.
2776:.
2399:E
2391:E
2383:E
2370:C
2360:C
2352:C
2344:C
2329:3
2326:/
2323:4
2309:/
2292:/
2275:/
2258:/
2244:8
2241:/
2238:9
2224:/
2207:/
2190:/
2173:/
2159:1
2156:/
2153:1
1671:–
1656:–
1641:–
1588:–
1573:–
1558:–
1272:¢
1270:0
1264:¢
1256:¢
1248:¢
1234:4
1231:/
1228:5
1221:│
1211:/
1201:│
1191:/
1181:│
1172:1
1169:/
1166:1
1153:4
1150:/
1147:5
1134:7
1131:/
1128:9
1115:3
1112:/
1109:4
1025:¢
1023:0
1017:¢
1009:¢
1001:¢
984:/
974:│
964:/
954:│
944:/
934:│
925:1
922:/
919:1
903:/
884:/
868:3
865:/
862:4
818:.
773:¢
771:0
765:¢
757:¢
749:¢
735:8
732:/
729:9
722:│
715:8
712:/
709:9
702:│
692:/
682:│
673:1
670:/
667:1
654:8
651:/
648:9
632:/
616:3
613:/
610:4
349:(
109:(
27:(
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