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| | | #redirect [[Verse:Hmøøh/Bjeheond/Music]] |
| ==Scales==
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| '''Netagin music''', both classical and modern, is usually taught based on 19 equal divisions of the octave (19edo), a [[w:Regular diatonic tuning|diatonic tuning]] where E# is equated to Fb instead of E# = F as in 12edo. Before the invention of electronic tuners, this temperament could be realized by tuning a chain of 19 pure 5/3 minor sixths, which approximates the tuning to less than 3 [[w:cent (music)|cents]] of error. Though 19edo is a meantone tuning like 12edo and diatonic music is not uncommon in Netagin culture, liturgical and folk music is usually based on the semiquartal scale, the nine-note MOS scale 331313131 which is an extension of the familiar pentatonic scale. This article mainly deals with the use of the semiquartal scale in Netagin music.
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| Liturgical chanting is not fixed to a particular tuning and may use traditional microtonal inflections or fine-tuned intervals.
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| A ''hanier'' /hɐɲɪɾ/ (literally 'stepping') consists of a nine-note scale plus which subsets to emphasize, either a set of two ''buri'' /bɨ'ɾi/ (pentachords or hexachords; lit. 'sprint') or a ''pezům'' /pɛ'zuəm/ ('set of five'), a pentatonic subset where 1\19 is not used as a step. Different styles encourage different subset use.
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| The most common diatonic modes in liturgical music are the Locrian and the Locrian #6. If necessary they are approximated with 19edo, for example for Locrian the 7-note subset 0-1-4-8-9-12-15-19 of the ''Pahnačie'' (sLsLsLLsL) mode is used.
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| ==''Buri''s==
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| In theory, the six possible ''buri''s with large (C-D) and small (C-C#) steps that build up a scale are:
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| #C-D-E-E#-F
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| #C-D-Ebb-E#-F
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| #C-D-Ebb-Eb-F
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| #C-Dbb-Ebb-E#-F
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| #C-Dbb-Ebb-Eb-F
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| #C-Dbb-Db-E#-F
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| In practice, usually only the first five are used. The two ''buri''s may be disjunct (separated by a major second), or conjunct (either spanning a minor seventh above the root or the major second above the root).
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| The top note of a ''buri'' functions similarly to the ''ghammāz'' in Arabic ''ajnās''.
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| A style that emphasizes ''buri''s is preferred for dark, mournful or creepy music (to emphasizing ''pezům''s).
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| Other ''buri''s which include 2\19 (about 126 cents) steps:
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| *C-D-Ebb-E-F
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| *C-Db-Ebb-E#-F
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| *C-Db-Ebb-E-F
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| ==''Pezům''s==
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| [[File:pezeom.png|thumbnail|The ''Lynkědie'' mode of the 9-note scale, with the ''pezům'' 0-250-500-700-950-1200 highlighted (notated in 19edo).]]
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| ''Pezům''s are said to sound brighter.
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| Common ''pezům''s are (TODO: Netagin names):
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| *C-D#-F-G-A#-C ("the most neutral-sounding")
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| *C-D-E-G-A-C ("mellow and joyful")
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| *C-D-E-G-A#-C ("pompous")
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| *C-D#-E#-G-A#-C ("majectic")
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| *C-D-E#-G-A#-C ("unsettled, suspended")
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| *C-D#-E#-G#-A-C ("slightly anxious and distressed")
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| *C-Eb-F-G-Bb-C
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| Rarer ''pezům''s:
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| *C-Eb-F-G-A#-Cb ("exotic")
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| *C-D#-F#-Ab-Bb-C 0-250-550-800-1000-1200 ("disoriented")
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| ==Counterpoint==
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| Mainly based on ''pezum''s with ornamentations as needed?
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| ===Contrary motion===
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| *You can resolve to 250 inward.
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| *400 can open to 500
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| *450 can open to 700
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| *950 can open to 1200
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| *be aware that naiadics are highly active: try to resolve naiadics to intervals or use them as a jumping point to modulate.
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| *250 is relatively stable so you should close down to it using contrary motion, it wont work as well as parallel thirds, tho.
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| *500 and 1000 are ambiguous suspended intervals.
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| ===Parallel motion===
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| *Parallel mosfourths (450 or 300) are good for contrasting the consonant 300 with the rougher 450. Parallel mossevenths (750 or 900) are similar.
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| *Parallel moseighths (950 or 800) are ok.
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| *Parallel mosthirds (250 or 400) work less well; widen parallel mosthirds by octaves.
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| *Avoid parallel fourths or fifths unless you have a good reason to use them.
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| *Avoid parallel seconds or sevenths
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| ==Harmony==
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| Semiquartal modal and functional harmony is a more modern construct and is a staple of modern Netagin popular music, such as rock, metal and electronic music.
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| ===MOS modes===
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| Modes of the 9-note scale are called ''hačama'' (sg. ''hačame'', lit. facial expression).
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| TODO: Netagin names
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| L = C-D, s = C-C# (C-C half-sharp in 24edo)
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| *''Cimmaqie'': LLsLsLsLs (Tsimma'ian)
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| *''Tavůlie'': LsLLsLsLs (Tavulian)
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| *''Lannie'': LsLsLLsLs (Lannian)
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| *''Bonžie'': LsLsLsLLs (Bonzhian)
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| *''Ťatůpie'': LsLsLsLsL (Tjatupian)
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| *''Zieřokie'': sLLsLsLsL (Zierokian)
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| *''Vašmie'': sLsLLsLsL (Vashmian)
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| *''Pahnačie'': sLsLsLLsL (Pahnachian)
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| *''Qyporie'': sLsLsLsLL (Iporian)
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| ===MODMOS modes===
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| ===Functional harmony===
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| Many of the harmonic functions carry over from diatonic, because the semiquartal scale has fifths and seconds similar to that of diatonic. The functions new to semiquartal are bolded; semi- is used for functions that are a semi-fourth below a diatonic function and similarly hemi- for semi-fourth above a diatonic function. Functions modulate naturally to other functions via fifths, semi-fourths, or sometimes naiadics (perfect fifth minus semifourth; 442 cents in 19edo).
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| *I. Tonic
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| *II. Supertonic
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| *III. '''Semisubdominant'''/Mediant (major)
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| *IV. Mediant (minor)/'''Semidominant'''
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| *V. Subdominant (aka leading tone to dominant)
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| *VI. Dominant
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| *VII. '''Semisubtonic'''/Submediant(major)
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| *VIII. Submediant(minor)/'''Hemidominant'''
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| *IX. Subtonic/Leading tone
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| ==Diatonic music==
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| Renaissance-esque, choral stuff?
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| Altered diatonic scales
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