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Fix RST inline markup: remove bold wrapping around links

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RST cannot nest inline markup — **`link <url>`_** renders the raw
markup instead of a clickable link. Removed all 37 instances across
5 guide pages.

Co-Authored-By: Claude Opus 4.6 (1M context) <noreply@anthropic.com>
This commit is contained in:
Kenneth Reitz
2026-03-22 06:39:58 -04:00
parent 245a8a1257
commit fdb724f788
5 changed files with 38 additions and 38 deletions
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docs/guide/chords.rst
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@@ -1,7 +1,7 @@
Working with Chords
===================
A **`chord <https://en.wikipedia.org/wiki/Chord_(music)>`_** is two or more tones sounding simultaneously. Chords are the
A `chord <https://en.wikipedia.org/wiki/Chord_(music)>`_ is two or more tones sounding simultaneously. Chords are the
vertical dimension of music — while melody moves horizontally through
time, harmony stacks tones on top of each other.
@@ -9,7 +9,7 @@ Chord Construction
------------------
Chords are built by stacking **intervals** above a **root** note. The
most common chord type is the **`triad <https://en.wikipedia.org/wiki/Triad_(music)>`_** — three notes built from
most common chord type is the `triad <https://en.wikipedia.org/wiki/Triad_(music)>`_ — three notes built from
alternating scale degrees (root, 3rd, 5th).
The four triad types::
@@ -19,7 +19,7 @@ The four triad types::
Diminished root + minor 3rd (3) + diminished 5th (6) Tense, unstable
Augmented root + major 3rd (4) + augmented 5th (8) Eerie, unresolved
Adding a 7th creates a **`seventh chord <https://en.wikipedia.org/wiki/Seventh_chord>`_** — the foundation of jazz
Adding a 7th creates a `seventh chord <https://en.wikipedia.org/wiki/Seventh_chord>`_ — the foundation of jazz
harmony::
Dominant 7th root + 4 + 7 + 10 Bluesy, wants to resolve (G7)
@@ -31,7 +31,7 @@ Inversions
----------
A chord is in **root position** when the root is the lowest note.
When a different chord tone is in the bass, the chord is **`inverted <https://en.wikipedia.org/wiki/Inversion_(music)>`_**:
When a different chord tone is in the bass, the chord is `inverted <https://en.wikipedia.org/wiki/Inversion_(music)>`_:
- **Root position**: C E G (root in bass)
- **First inversion**: E G C (3rd in bass) — notated C/E
@@ -61,7 +61,7 @@ For seventh chords, there's also **third inversion** (7th in bass):
Extended Chords
---------------
Beyond seventh chords, jazz harmony builds **`extended chords <https://en.wikipedia.org/wiki/Extended_chord>`_** by
Beyond seventh chords, jazz harmony builds `extended chords <https://en.wikipedia.org/wiki/Extended_chord>`_ by
continuing to stack thirds:
- **9th chord**: adds the 9th (= 2nd, one octave up)
@@ -196,9 +196,9 @@ Tritone 45:32 Waves rarely align
Dissonance Score
~~~~~~~~~~~~~~~~
The ``dissonance`` property uses the **Plomp-Levelt `roughness <https://en.wikipedia.org/wiki/Roughness_(psychoacoustics)>`_ model**
The ``dissonance`` property uses the Plomp-Levelt `roughness <https://en.wikipedia.org/wiki/Roughness_(psychoacoustics)>`_ model
(1965). When two frequencies are close together, their sound waves
interfere and produce rapid amplitude fluctuations called **`beating <https://en.wikipedia.org/wiki/Beat_(acoustics)>`_**.
interfere and produce rapid amplitude fluctuations called `beating <https://en.wikipedia.org/wiki/Beat_(acoustics)>`_.
This beating is perceived as roughness — the physiological basis of
dissonance.
@@ -268,7 +268,7 @@ against 17 known chord types (triads, 7ths, 9ths, sus, power chords).
Harmonic Analysis
-----------------
**`Roman numeral analysis <https://en.wikipedia.org/wiki/Roman_numeral_analysis>`_** labels each chord by its function within a
`Roman numeral analysis <https://en.wikipedia.org/wiki/Roman_numeral_analysis>`_ labels each chord by its function within a
key. This is how musicians describe chord progressions independent of
key — "I-IV-V" means the same thing in C major (C-F-G) as in G major
(G-C-D).
@@ -320,7 +320,7 @@ quantifies this based on:
Voice Leading
-------------
**`Voice leading <https://en.wikipedia.org/wiki/Voice_leading>`_** is the art of connecting chords smoothly. Instead of
`Voice leading <https://en.wikipedia.org/wiki/Voice_leading>`_ is the art of connecting chords smoothly. Instead of
jumping all voices to new positions, good voice leading moves each note
the minimum distance to reach the next chord. Bach's chorales are the
gold standard — every voice moves by step whenever possible.
@@ -338,7 +338,7 @@ The Overtone Series
-------------------
Every musical tone is actually a stack of frequencies — the
**fundamental** plus its **`overtones <https://en.wikipedia.org/wiki/Overtone>`_** (harmonics). The overtone series
**fundamental** plus its `overtones <https://en.wikipedia.org/wiki/Overtone>`_ (harmonics). The overtone series
is nature's chord: it contains the octave, perfect fifth, perfect
fourth, major third, and more, in that order.
docs/guide/playback.rst
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@@ -37,19 +37,19 @@ Playing a Chord
Waveform Types
--------------
The waveform shape determines the **`timbre <https://en.wikipedia.org/wiki/Timbre>`_** (tonal color) of the sound.
The waveform shape determines the `timbre <https://en.wikipedia.org/wiki/Timbre>`_ (tonal color) of the sound.
Different waveforms contain different combinations of **harmonics** —
integer multiples of the fundamental frequency.
- **`Sine wave <https://en.wikipedia.org/wiki/Sine_wave>`_** — the purest tone. Contains only the fundamental
- `Sine wave <https://en.wikipedia.org/wiki/Sine_wave>`_ — the purest tone. Contains only the fundamental
frequency with no harmonics. Sounds smooth, clear, and "electronic."
This is the building block of all other waveforms (`Fourier's theorem <https://en.wikipedia.org/wiki/Fourier_series>`_).
- **`Sawtooth wave <https://en.wikipedia.org/wiki/Sawtooth_wave>`_** — contains all harmonics (both odd and even),
- `Sawtooth wave <https://en.wikipedia.org/wiki/Sawtooth_wave>`_ — contains all harmonics (both odd and even),
each at amplitude 1/n. Sounds bright, buzzy, and aggressive.
Named for its shape. Used extensively in `additive synthesis <https://en.wikipedia.org/wiki/Additive_synthesis>`_ and analog synthesizers.
- **`Triangle wave <https://en.wikipedia.org/wiki/Triangle_wave>`_** — contains only odd harmonics, each at amplitude
- `Triangle wave <https://en.wikipedia.org/wiki/Triangle_wave>`_ — contains only odd harmonics, each at amplitude
1/n². Sounds softer and more mellow than sawtooth — somewhere between
sine and sawtooth. Often described as "woody" or "hollow."
docs/guide/scales.rst
+12 -12
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@@ -48,7 +48,7 @@ Major and Minor
The **major scale** (`Ionian <https://en.wikipedia.org/wiki/Ionian_mode>`_ mode) is the foundation of Western tonal
music. Its pattern of whole and half steps creates a bright, resolved
sound. Every major key has a **`relative minor <https://en.wikipedia.org/wiki/Relative_key>`_** that shares the same
sound. Every major key has a `relative minor <https://en.wikipedia.org/wiki/Relative_key>`_ that shares the same
notes but starts from the 6th degree:
- C major → A minor (both use only white keys)
@@ -63,7 +63,7 @@ notes but starts from the 6th degree:
# Same notes, different starting point
set(c_major.note_names) == set(a_minor.note_names) # True
The **`harmonic minor <https://en.wikipedia.org/wiki/Harmonic_minor_scale>`_** raises the 7th degree of the natural minor,
The `harmonic minor <https://en.wikipedia.org/wiki/Harmonic_minor_scale>`_ raises the 7th degree of the natural minor,
creating an augmented 2nd interval (3 semitones) between the 6th and
7th degrees. This gives it a distinctive "Middle Eastern" or "classical"
sound and provides the leading tone needed for dominant harmony::
@@ -75,7 +75,7 @@ sound and provides the leading tone needed for dominant harmony::
Modes
-----
The seven **`modes <https://en.wikipedia.org/wiki/Mode_(music)>`_** of the major scale are rotations of the same interval
The seven `modes <https://en.wikipedia.org/wiki/Mode_(music)>`_ of the major scale are rotations of the same interval
pattern, each starting from a different degree. Each mode has a distinct
emotional character:
@@ -87,32 +87,32 @@ emotional character:
c["ionian"] # C D E F G A B C
**`Dorian <https://en.wikipedia.org/wiki/Dorian_mode>`_** (ii) — minor with a raised 6th. Jazzy, soulful (So What,
`Dorian <https://en.wikipedia.org/wiki/Dorian_mode>`_ (ii) — minor with a raised 6th. Jazzy, soulful (So What,
Scarborough Fair)::
c["dorian"] # C D Eb F G A Bb C
**`Phrygian <https://en.wikipedia.org/wiki/Phrygian_mode>`_** (iii) — minor with a flat 2nd. Spanish, flamenco, dark
`Phrygian <https://en.wikipedia.org/wiki/Phrygian_mode>`_ (iii) — minor with a flat 2nd. Spanish, flamenco, dark
(White Rabbit)::
c["phrygian"] # C Db Eb F G Ab Bb C
**`Lydian <https://en.wikipedia.org/wiki/Lydian_mode>`_** (IV) — major with a raised 4th. Dreamy, floating, ethereal
`Lydian <https://en.wikipedia.org/wiki/Lydian_mode>`_ (IV) — major with a raised 4th. Dreamy, floating, ethereal
(The Simpsons theme, Flying by ET)::
c["lydian"] # C D E F# G A B C
**`Mixolydian <https://en.wikipedia.org/wiki/Mixolydian_mode>`_** (V) — major with a flat 7th. Bluesy, rock, dominant
`Mixolydian <https://en.wikipedia.org/wiki/Mixolydian_mode>`_ (V) — major with a flat 7th. Bluesy, rock, dominant
(Norwegian Wood, Sweet Home Alabama)::
c["mixolydian"] # C D E F G A Bb C
**`Aeolian <https://en.wikipedia.org/wiki/Aeolian_mode>`_** (vi) — the natural minor scale. Sad, dark, introspective
`Aeolian <https://en.wikipedia.org/wiki/Aeolian_mode>`_ (vi) — the natural minor scale. Sad, dark, introspective
(Stairway to Heaven, Losing My Religion)::
c["aeolian"] # C D Eb F G Ab Bb C
**`Locrian <https://en.wikipedia.org/wiki/Locrian_mode>`_** (vii) — minor with flat 2nd and flat 5th. Unstable,
`Locrian <https://en.wikipedia.org/wiki/Locrian_mode>`_ (vii) — minor with flat 2nd and flat 5th. Unstable,
rarely used as a home key (used in metal and jazz over diminished
chords)::
@@ -167,7 +167,7 @@ Scales are iterable and support ``len()`` and ``in``:
Building Chords from Scales
----------------------------
**`Diatonic <https://en.wikipedia.org/wiki/Diatonic_and_chromatic>`_ harmony** builds chords by stacking every other note of the
`Diatonic <https://en.wikipedia.org/wiki/Diatonic_and_chromatic>`_ harmony builds chords by stacking every other note of the
scale. A **triad** takes the 1st, 3rd, and 5th; a **seventh chord** adds
the 7th.
@@ -218,7 +218,7 @@ Some of the most-used chord progressions in Western music:
The 12-Bar Blues
~~~~~~~~~~~~~~~~
The **`12-bar blues <https://en.wikipedia.org/wiki/Twelve-bar_blues>`_** is the most influential chord progression in
The `12-bar blues <https://en.wikipedia.org/wiki/Twelve-bar_blues>`_ is the most influential chord progression in
American music. It's 12 measures long and uses only three chords
(I, IV, V)::
@@ -249,7 +249,7 @@ Parallel Major and Minor
~~~~~~~~~~~~~~~~~~~~~~~~~
Two scales are **relative** if they share the same notes (C major and
A minor). Two scales are **`parallel <https://en.wikipedia.org/wiki/Parallel_key>`_** if they share the same tonic but
A minor). Two scales are `parallel <https://en.wikipedia.org/wiki/Parallel_key>`_ if they share the same tonic but
have different notes (C major and C minor).
Mixing parallel major and minor is a powerful compositional tool —
docs/guide/systems.rst
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@@ -28,7 +28,7 @@ Indian Classical (Hindustani)
-----------------------------
The Hindustani system uses **swaras** (Sa, Re, Ga, Ma, Pa, Dha, Ni) and
organizes scales into **`thaats <https://en.wikipedia.org/wiki/Thaat>`_** — the 10 parent scales from which `ragas <https://en.wikipedia.org/wiki/Raga>`_
organizes scales into `thaats <https://en.wikipedia.org/wiki/Thaat>`_ — the 10 parent scales from which `ragas <https://en.wikipedia.org/wiki/Raga>`_
are derived.
.. code-block:: python
@@ -124,7 +124,7 @@ and folk music worldwide. `Pentatonic scales <https://en.wikipedia.org/wiki/Pent
known musical scales, found independently in cultures across every
continent.
The **`blues scale <https://en.wikipedia.org/wiki/Blues_scale>`_** adds the "`blue note <https://en.wikipedia.org/wiki/Blue_note>`_" (flat 5th / sharp 4th) to the
The `blues scale <https://en.wikipedia.org/wiki/Blues_scale>`_ adds the "`blue note <https://en.wikipedia.org/wiki/Blue_note>`_" (flat 5th / sharp 4th) to the
minor pentatonic — this chromatic passing tone is the defining sound
of the blues.
@@ -163,8 +163,8 @@ gamelan orchestra in 12-tone equal temperament. True gamelan tuning is
unique to each ensemble and does not conform to Western intonation —
these are the closest 12-TET approximations.
**`Slendro <https://en.wikipedia.org/wiki/Slendro>`_** is a roughly equal 5-tone division of the octave, producing
an ethereal, floating quality. **`Pelog <https://en.wikipedia.org/wiki/Pelog>`_** is a 7-tone scale with unequal
`Slendro <https://en.wikipedia.org/wiki/Slendro>`_ is a roughly equal 5-tone division of the octave, producing
an ethereal, floating quality. `Pelog <https://en.wikipedia.org/wiki/Pelog>`_ is a 7-tone scale with unequal
intervals, typically performed using 5-note subsets called *pathet*.
.. code-block:: python
docs/guide/tones.rst
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@@ -16,7 +16,7 @@ The 12 chromatic tones are::
C C#/Db D D#/Eb E F F#/Gb G G#/Ab A A#/Bb B
Notes with two names (like C# and Db) are **`enharmonic equivalents <https://en.wikipedia.org/wiki/Enharmonic>`_** —
Notes with two names (like C# and Db) are `enharmonic equivalents <https://en.wikipedia.org/wiki/Enharmonic>`_ —
different names for the same pitch. Whether you call it C# or Db depends
on the musical context (key signature, harmonic function).
@@ -32,7 +32,7 @@ pitch notation**, where the octave number increments at C::
Key reference points:
- **`A4 = 440 Hz <https://en.wikipedia.org/wiki/A440_(pitch_standard)>`_** — the international tuning standard (ISO 16)
- `A4 = 440 Hz <https://en.wikipedia.org/wiki/A440_(pitch_standard)>`_ — the international tuning standard (ISO 16)
- **C4 = 261.63 Hz** — middle C on the piano
- **A0 = 27.5 Hz** — the lowest A on a standard piano
- **C8 = 4186 Hz** — the highest C on a standard piano
@@ -96,17 +96,17 @@ Temperament
Different temperaments produce slightly different frequencies for the
same note name:
- **`Equal temperament <https://en.wikipedia.org/wiki/Equal_temperament>`_** (default): Every semitone has an identical
- `Equal temperament <https://en.wikipedia.org/wiki/Equal_temperament>`_ (default): Every semitone has an identical
frequency ratio of 2^(1/12). This is the modern standard — it allows
free modulation between all keys but no interval is acoustically
"pure" except the octave.
- **`Pythagorean temperament <https://en.wikipedia.org/wiki/Pythagorean_tuning>`_**: Built entirely from pure perfect fifths
- `Pythagorean temperament <https://en.wikipedia.org/wiki/Pythagorean_tuning>`_: Built entirely from pure perfect fifths
(3:2 ratio). Produces beatless fifths but introduces the "Pythagorean
comma" — a small discrepancy when 12 fifths don't quite equal 7
octaves. Used in medieval European music.
- **`Quarter-comma meantone <https://en.wikipedia.org/wiki/Quarter-comma_meantone>`_**: Tunes major thirds to the pure ratio of
- `Quarter-comma meantone <https://en.wikipedia.org/wiki/Quarter-comma_meantone>`_: Tunes major thirds to the pure ratio of
5:4, distributing the resulting error across the fifths. Dominant in
Renaissance and Baroque music (15th–18th century). Sounds beautiful
in closely related keys but "wolf intervals" make distant keys
@@ -204,7 +204,7 @@ The Overtone Series
Every tone you hear is actually a composite of many frequencies. When
a string vibrates, it doesn't just vibrate as a whole — it also vibrates
in halves, thirds, quarters, and so on, producing the **`harmonic series <https://en.wikipedia.org/wiki/Harmonic_series_(music)>`_**:
in halves, thirds, quarters, and so on, producing the `harmonic series <https://en.wikipedia.org/wiki/Harmonic_series_(music)>`_:
.. code-block:: python
@@ -231,7 +231,7 @@ It's also why the major triad (root, major 3rd, perfect 5th) feels
Different instruments emphasize different harmonics, which is why a
violin and a flute playing the same note sound different. This quality
is called **`timbre <https://en.wikipedia.org/wiki/Timbre>`_**.
is called `timbre <https://en.wikipedia.org/wiki/Timbre>`_.
Enharmonic Equivalents
----------------------
@@ -258,7 +258,7 @@ tones carry their enharmonic equivalents:
The Circle of Fifths
--------------------
The **`circle of fifths <https://en.wikipedia.org/wiki/Circle_of_fifths>`_** is the most important diagram in Western music
The `circle of fifths <https://en.wikipedia.org/wiki/Circle_of_fifths>`_ is the most important diagram in Western music
theory. Starting from any note and ascending by perfect fifths (7
semitones), you pass through all 12 chromatic tones before returning
to the starting note: