From fdb724f7882ea5b0dedc05e851967414bfa0e574 Mon Sep 17 00:00:00 2001 From: Kenneth Reitz Date: Sun, 22 Mar 2026 06:39:58 -0400 Subject: [PATCH] Fix RST inline markup: remove bold wrapping around links MIME-Version: 1.0 Content-Type: text/plain; charset=UTF-8 Content-Transfer-Encoding: 8bit RST cannot nest inline markup — **`link `_** 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) --- docs/guide/chords.rst | 20 ++++++++++---------- docs/guide/playback.rst | 8 ++++---- docs/guide/scales.rst | 24 ++++++++++++------------ docs/guide/systems.rst | 8 ++++---- docs/guide/tones.rst | 16 ++++++++-------- 5 files changed, 38 insertions(+), 38 deletions(-) diff --git a/docs/guide/chords.rst b/docs/guide/chords.rst index f1da1e8..d587fa8 100644 --- a/docs/guide/chords.rst +++ b/docs/guide/chords.rst @@ -1,7 +1,7 @@ Working with Chords =================== -A **`chord `_** is two or more tones sounding simultaneously. Chords are the +A `chord `_ 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 `_** — three notes built from +most common chord type is the `triad `_ — 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 `_** — the foundation of jazz +Adding a 7th creates a `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 `_**: +When a different chord tone is in the bass, the chord is `inverted `_: - **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 `_** by +Beyond seventh chords, jazz harmony builds `extended chords `_ 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 `_ model** +The ``dissonance`` property uses the Plomp-Levelt `roughness `_ model (1965). When two frequencies are close together, their sound waves -interfere and produce rapid amplitude fluctuations called **`beating `_**. +interfere and produce rapid amplitude fluctuations called `beating `_. 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 `_** labels each chord by its function within a +`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 `_** is the art of connecting chords smoothly. Instead of +`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 `_** (harmonics). The overtone series +**fundamental** plus its `overtones `_ (harmonics). The overtone series is nature's chord: it contains the octave, perfect fifth, perfect fourth, major third, and more, in that order. diff --git a/docs/guide/playback.rst b/docs/guide/playback.rst index 1946fcb..1c24f4e 100644 --- a/docs/guide/playback.rst +++ b/docs/guide/playback.rst @@ -37,19 +37,19 @@ Playing a Chord Waveform Types -------------- -The waveform shape determines the **`timbre `_** (tonal color) of the sound. +The waveform shape determines the `timbre `_ (tonal color) of the sound. Different waveforms contain different combinations of **harmonics** — integer multiples of the fundamental frequency. -- **`Sine wave `_** — the purest tone. Contains only the fundamental +- `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 `_). -- **`Sawtooth wave `_** — contains all harmonics (both odd and even), +- `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 `_ and analog synthesizers. -- **`Triangle wave `_** — contains only odd harmonics, each at amplitude +- `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." diff --git a/docs/guide/scales.rst b/docs/guide/scales.rst index e148934..cb00c59 100644 --- a/docs/guide/scales.rst +++ b/docs/guide/scales.rst @@ -48,7 +48,7 @@ Major and Minor The **major scale** (`Ionian `_ 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 `_** that shares the same +sound. Every major key has a `relative minor `_ 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 `_** raises the 7th degree of the natural minor, +The `harmonic minor `_ 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 `_** of the major scale are rotations of the same interval +The seven `modes `_ 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 `_** (ii) — minor with a raised 6th. Jazzy, soulful (So What, +`Dorian `_ (ii) — minor with a raised 6th. Jazzy, soulful (So What, Scarborough Fair):: c["dorian"] # C D Eb F G A Bb C -**`Phrygian `_** (iii) — minor with a flat 2nd. Spanish, flamenco, dark +`Phrygian `_ (iii) — minor with a flat 2nd. Spanish, flamenco, dark (White Rabbit):: c["phrygian"] # C Db Eb F G Ab Bb C -**`Lydian `_** (IV) — major with a raised 4th. Dreamy, floating, ethereal +`Lydian `_ (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 `_** (V) — major with a flat 7th. Bluesy, rock, dominant +`Mixolydian `_ (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 `_** (vi) — the natural minor scale. Sad, dark, introspective +`Aeolian `_ (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 `_** (vii) — minor with flat 2nd and flat 5th. Unstable, +`Locrian `_ (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 `_ harmony** builds chords by stacking every other note of the +`Diatonic `_ 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 `_** is the most influential chord progression in +The `12-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 `_** if they share the same tonic but +A minor). Two scales are `parallel `_ 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 — diff --git a/docs/guide/systems.rst b/docs/guide/systems.rst index 3f159bb..22241b7 100644 --- a/docs/guide/systems.rst +++ b/docs/guide/systems.rst @@ -28,7 +28,7 @@ Indian Classical (Hindustani) ----------------------------- The Hindustani system uses **swaras** (Sa, Re, Ga, Ma, Pa, Dha, Ni) and -organizes scales into **`thaats `_** — the 10 parent scales from which `ragas `_ +organizes scales into `thaats `_ — the 10 parent scales from which `ragas `_ are derived. .. code-block:: python @@ -124,7 +124,7 @@ and folk music worldwide. `Pentatonic scales `_** adds the "`blue note `_" (flat 5th / sharp 4th) to the +The `blues scale `_ adds the "`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 `_** is a roughly equal 5-tone division of the octave, producing -an ethereal, floating quality. **`Pelog `_** is a 7-tone scale with unequal +`Slendro `_ is a roughly equal 5-tone division of the octave, producing +an ethereal, floating quality. `Pelog `_ is a 7-tone scale with unequal intervals, typically performed using 5-note subsets called *pathet*. .. code-block:: python diff --git a/docs/guide/tones.rst b/docs/guide/tones.rst index 0198488..c1ae999 100644 --- a/docs/guide/tones.rst +++ b/docs/guide/tones.rst @@ -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 `_** — +Notes with two names (like C# and Db) are `enharmonic equivalents `_ — 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 `_** — the international tuning standard (ISO 16) +- `A4 = 440 Hz `_ — 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 `_** (default): Every semitone has an identical +- `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 `_**: Built entirely from pure perfect fifths +- `Pythagorean temperament `_: 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 `_**: Tunes major thirds to the pure ratio of +- `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 `_**: +in halves, thirds, quarters, and so on, producing the `harmonic series `_: .. 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 `_**. +is called `timbre `_. Enharmonic Equivalents ---------------------- @@ -258,7 +258,7 @@ tones carry their enharmonic equivalents: The Circle of Fifths -------------------- -The **`circle of fifths `_** is the most important diagram in Western music +The `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: