User talk:Roivas

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Kit Smith
A tag has been placed on the article Kit Smith, requesting that it be speedily deleted from Wikipedia. This has been done because the article seems to be a biographical account about a person, group of people, or band, but it does not indicate how or why he/she/they is/are notable. If you can indicate why Kit Smith is really notable, I advise you to edit the article promptly, and also put a note on Talk:Kit Smith. Any admin should check for such edits before deleting the article. Feel free to leave a note on my talk page if you have any questions about this. Please read our criteria for speedy deletion, particularly item 7 under Articles. You might also want to read our general biography criteria. Please do not remove the speedy deletion tag yourself.--Esprit15d 16:10, 28 February 2006 (UTC)

---

Sorry...I got a little carried away.

Excerpt from Wikipedia:Notability (people):

"Published authors, editors, and photographers who have written books with an audience of 5,000 or more or in periodicals with a circulation of 5,000 or more"

As of this week, K≈it Smith (a pseudonym) has been accepted for publication in The Smithsonian Magazine (back page). I will provide any information needed to verify this once the issue has printed.

Please reconsider your deletion. I understand why this was done, though.

Thanks.

-Roivas 20:59, 7 March 2006 (UTC)
 * Great! Just resubmit the article, but be sure to include on the talk page or in the "Published works" section of your article the reference for the Smithsonian magazine.  Happy editing!  (on a side note, be sure to sign any notes you leave people with the four tildes.  You can do so by just clicking on the little signature icon above the editing box, and it does it automatically for you!)--Esprit15d 18:39, 7 March 2006 (UTC)

Okay...I'll wait for the article to come out, though.

I'll be more careful in the future. I know...clutter and vandalism are a drag.

You mean like this?: Roivas 19:13, 7 March 2006 (UTC)
 * Right, exactly like that :) --Esprit15d 13:43, 9 March 2006 (UTC)

James Holland (musician)
Hello, and welcome to Wikipedia! We welcome and appreciate your contributions, such as James Holland (musician), but we regretfully cannot accept copyrighted text or images borrowed from either web sites or printed material. This article appears to be a direct copy from http://www.scarecrowpress.com/Catalog/SingleBook.shtml?command=Search&db=^DB/CATALOG.db&eqSKUdata=0810843951, and therefore a copyright violation. The copyrighted text has been or will soon be deleted.

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It is also important that the text be modified to have an encyclopedic tone and that it follows Wikipedia article layout. For more information, see Wikipedia's policies and guidelines. Thank you, and please feel welcome to continue contributing to Wikipedia. Happy editing! -- ReyBrujo 05:02, 14 November 2006 (UTC)

Sorry. My bad.--Roivas 17:09, 14 November 2006 (UTC)

Re: Tritone spelling
Oops! That was a manual correction, which went wrong for that article only. I've fixed it now. Thanks Rjwilmsi 18:44, 20 December 2006 (UTC)

Diatonic
I have greatly expanded Diatonic and chromatic and included a place for various quotations from reference works, which for the moment I have lifted directly from the various talk pages. &mdash;Wahoofive (talk) 03:04, 26 March 2007 (UTC)

Goetschius' Definition of Diatonic
From The Theory and Practice of Tone-Relations

(All bolding and italics in original text)

Chapter I

9. Any tone may be chosen as "keynote" or chief of the group; with this, no other tones will more naturally and reasonably be associated than its perfect 5th above and below, as next in order of importance in the group. The next member is the perfect 5th above the upper tone; and in the same manner a new higher perfect 5th is associated with each preceding member, until a tone is reached which would contradict the lowest one.

(A diagram follows displaying tones arranged in perfect fifths on a grand staff: F, C ((as “keynote”)), G, D, A, E, B, F#*)


 * (*footnote: the tone F-sharp does not appear in the authentic group, or key, or family of C, because it contradicts F-natural, the lowermost member.  Why the latter, F-natural, should be preferred to F-sharp, notwithstanding it lies below what properly be the fundamental tone, or basis (C), and how very frequently the F-sharp is nevertheless preferred to F-natural, and adopted as momentary member of the C family, will be seen in time.)

10. This illustration also accounts for there being no more nor less than just seven members in an authentic scale, or family of tones, usually called a key. There is no question in this case about the six tones, c, g, d, a, e, b, all of which lie above the fundamental keynote; and as to F-natural or F-sharp, it is certain that one or the other must be admitted into the family of C, and preference is give to the F-natural, because of its direct relation to the keynote.

11. This is the true natural scale, composed of equal contiguous intervals. For the sake of convenience, the seven tones are drawn into close proximity by simply transferring certain tones down or up by the octave-relation (whereby, as shown in par. 6, their significations are in no wise altered). In this way the so-called diatonic scale is obtained.

12. The diatonic scale comprises the tones of the major mode, so designated for reason given later. Upon examination it is found that the contiguous intervals of the diatonic scale, unlike those of the natural scale, are not uniform, but differ as follows:

(A diagram is shown of a C major scale with slurs pointing out the semitone placement)

That is, the distance between the 3rd and 4th tones, and also between the 7th and 8th tones, is only half as great as that between all the other contiguous tones. This has no other importance for us at present than to illustrate the accidental relative location assumed by the seven tones when referred from their order in the natural scale, to that of the diatonic scale. At the same time, it is a convenient external guide to the ready mechanical formation of any diatonic major scale, and should therefore be observed.

Chapter XI

The Harmonic Minor Mode

85. The line of research and argument in Chapter I, leading up to paragraphs 11 and 12 (which see), proves that, of the two modes recognized and employed in modern music, that one known as major (because its prin. Triads have a major third) is the natural one.

86. The other, i.e., the minor mode, is consequently to be regarded as an unnatural or artificial mode, and is accounted for as an arbitrary modification of the natural major mode.

87. This modification affects the two mediants, namely: The third and sixth steps of the major scale, which are lowered (by an accidental) so as to transform the corresponding major intervals into minor intervals. No other steps are changed.

88. The scale thus obtained is called the harmonic minor mode. It is the only theoretically accurate minor scale, and is the same in both ascending and descending succession. Still other alterations, rendered necessary by melodic considerations (to be explained is due season), are based upon this harmonic minor mode, which must therefore be first thoroughly mastered.

Chapter II

INTERVALS

15. The association of any two tones is called an interval.

Intervals are always counted upward,
 * along the diatonic major scale of the lower tone.

The number of the step which is occupied by the upper tone is the numerical name of the interval.

DIATONIC INTERVALS

16. All those intervals which agree with the natural major scale (i.e., where the upper tone corresponds exactly to the scale-step of the lower tone as tonic), are called natural or diatonic intervals.

CHROMATIC INTERVALS

17. But the upper of two tones does not always agree thus with the major scale of the lower tone; for example: [figure showing augmented and diminished intervals]. Such tone-relations are termed chromatic intervals, and are qualified as follows: Any perfect interval when extended by an accidental before the upper tone (the letters remaining the same) becomes augmented; when similarly contracted, it becomes diminished.

18. Analogously, any major interval when extended by an accidental becomes augmented;
 * when contracted by an accidental, a major interval becomes minor.

...etc.

--Roivas 15:07, 19 April 2007 (UTC)

ArbCom elections are now open!
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