Verse:Hmøøh/Tumhan/Music

Template:Windermere sidebar Bjeheondian music is a monophonic tradition based on Netagin music.

Tuning

Bjeheondian music often appears "microtonal" or "xenharmonic" from our modern Western perspective, though pentatonic-like scales can be used. In modern times it is usually notated based on a diatonic-based notation with accidentals for non-fifth-based notes. However, real-world intonational practices are not fixed to a particular tuning and use traditional microtonal inflections or fine-tuned intervals, and they differ by region and context. Both court and folk music use melodies based on either scales similar to our pentatonic scale, diatonic-like scales, or the semiquartal (5L 4s MOS) scale, the nine-note scale LLSLSLSLS which is an extension of the familiar pentatonic scale; restriction of melodies to the pentatonic scale shows up sometimes. Diatonic-like melodic shapes sometimes arise as a consequence of altering the semiquartal scale.

A hanier /hɐ'nɪɾ/ (literally 'stepping'; Wdm. hănier) consists of a set of nine movable pitches plus a choice of which subset to emphasize, either a set of two pezům /pɛ'zuəm/ (pentachords, lit. 'set of five'; Nurian seałŧaļ, Wdm. păsuam) or a framework based on a buri /by'ɾi/ (lit. 'sprint'; Wdm. büri), a pentatonic subset where the small step of 5L 4s is not used as a step. Different styles encourage different subset use.

Some important modern hanier artists include composers Baqůr Dyhieć and Qypaś Nabak and singer Stow fa Fitsmil. Some modern composers have introduced hanier counterpoint.

Commonly used tonics/keys are Adb, Edb, Bdb, Fd, C, D, F, and G.

Instruments

The most important instrument in Bjeheondian music is the human voice. Instruments such as ouds, Talman fiddles, qanuns, modern electronic keyboards and various percussion instruments are also used.

There is a tradition of orally transmitted folk songs (Ntg. vyntah qama; Nurian nūsaļ mamma, both 'mother's singing'). Composed solo vocal music (Ntg. vyntah vyźol; Nurian nūsaļ iġġīehar 'exquisite singing') was traditionally upper class music as opposed to folk music, but became an integral part of folk music, with many pieces becoming part of the hanier canon.

History

Haniers originally consisted of two 4/3-spanning JI pentachords, often described as 1/1 9/8 7/6 21/16 4/3 or permutations thereof.

Pitched percussion, imported from Naquian music, uses semiquartal[19] tunings have been used in music with pitched percussion, usually tunings close to 33edo or 19edo semiquartal.

Figures

• Ŋyplavin: developed a 17 tone system that misses some pezůms, and developed ðavr's
• Mydleśin: proposed various tunings mostly based on dividing string lengths; Mydleśin's scales are split into monochordal and dichordal, depending on whether the pattern has one 9/8 (i.e. meant to be played on one string) or two 9/8's (meant to be played on two strings)
• Hăjaď Săvarkălin: proposed weird pezůms, esp ones that have 10/9's for 9/8's, thus getting closer to the modern quasi-33edo system.

Pezůms

Pezůms are analogous to ajnās in Arabic music.

1. Standard semiquartal pezůms:
   1. pezům Qykabav: (sLs)LLsLs(Ls)
   2. pezům Lann: (sLs)LsLsL(Ls)
   3. pezům Zierok: (LsL) (tonic) sLLsL (fifth) (sL)
   4. pezům Vaśăm: (LsL)sLsLL(sL)
   5. pezům Ćitup: ascending (LsL) (tonic) sLLsL (fifth) (sL) and descending (LsL) (tonic) sLsLL (fifth) (sL)
   6. pezům Qypor: (sLL) (tonic) sLsLs (tritone)
2. Neutralized semiquartal pezůms, MM = 4\33 3\33 ascending and 3\33 4\33 descending
   1. pezům Nobbax: (sMM)LsMML(Ls)
   2. pezům Jeťťur: (4sL)MMsLL(MM)
   3. pezům Kazăr: (s4L)sMMLL(s4)
3. Weird pezůms (4 = 4\33, 3 = 3\33
   1. pezům Manakvi (4L)444s(Ls)

Harmony in the semiquartal scale

Semiquartal modal harmony (harmony is referred to with the neologism vynqůr '(the gestalt result of) difference [referring to different pitches sounded simultaneously]' or with the Eevo word eeclind) is a modern construct. A particular style of it pioneered by the Trician xenharmonic community Brycþéñ lly Frindu Jydylisríz has gained some popularity in the Windermere Commonwealth, and "popular hanier" has begun incorporating it. Modes of the 9-note scale are called hăćemaś (sg. hăćemeś, lit. mask). These are distinct from the traditional haniers.

• Cimmaqie: LLsLsLsLs (Chimmaïan)
• Tavůlie: LsLLsLsLs (Thavulian)
• Lannie: LsLsLLsLs (Lannian)
• Bonźie: LsLsLsLLs (Bonzhian)
• Ćiťůpie: LsLsLsLsL (Tjitupian)
• Zierokie: sLLsLsLsL (Zierokian)
• Vaśmie: sLsLLsLsL (Vashmian)
• Pahnaćie: sLsLsLLsL (Pahnachian)
• Qyporie: sLsLsLsLL (Iporian)

Functional harmony is based on using 4L 1s modes and their subsets on functional degrees.

Rhythm

Bjeheondian rhythm is based on complex rhythmic cycles known as tălea in Windermere (from Ntg. talea, from t-l-j "to return, to cycle"), often consisting of more than 10 beats per "measure". (Steal from konnakol)