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A six-course double-strung 12 string lyre-guitar at the Museu de la Música de Barcelona. A postcard showing a girl playing a lyre-guitar, c. 1870. The classical theme is typical of the period. A musical instrument of the chordophone family, the lyre-guitar was a type of guitar shaped to look like a lyre, popular as a fad-instrument in the late ...
The implementation of chords using particular tunings is a defining part of the literature on guitar chords, which is omitted in the abstract musical-theory of chords for all instruments. For example, in the guitar (like other stringed instruments but unlike the piano ), open-string notes are not fretted and so require less hand-motion.
The earliest reference to the word "lyre" is the Mycenaean Greek ru-ra-ta-e, meaning "lyrists" and written in the Linear B script. [5] In classical Greek, the word "lyre" could either refer specifically to an amateur instrument, which is a smaller version of the professional cithara and eastern-Aegean barbiton, or "lyre" can refer generally to all three instruments as a family. [6]
Chord diagrams for some common chords in major-thirds tuning. In music, a chord diagram (also called a fretboard diagram or fingering diagram) is a diagram indicating the fingering of a chord on fretted string instruments, showing a schematic view of the fretboard with markings for the frets that should be pressed when playing the chord. [1]
In music theory, a tetrachord (Greek: τετράχορδoν; Latin: tetrachordum) is a series of four notes separated by three intervals.In traditional music theory, a tetrachord always spanned the interval of a perfect fourth, a 4:3 frequency proportion (approx. 498 cents)—but in modern use it means any four-note segment of a scale or tone row, not necessarily related to a particular tuning ...
The theory was a variation of an earlier theory, talked about in the 1911 Encyclopædia Britannica's articles about the guitar, cithara and rotta, which were written by Kathleen Schlesinger. [5] Where Winternitz later focused on the cittern, Schlesinger concentrated on the chain of instrument evolution from lyre to guitar.
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To build chords, Fripp uses "perfect intervals in fourths, fifths and octaves", so avoiding minor thirds and especially major thirds, [26] which are sharp in equal temperament tuning (in comparison to thirds in just intonation). It is a challenge to adapt conventional guitar-chords to new standard tuning, which is based on all-fifths tuning. [27]
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