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| {{Windermere sidebar}} | | {{Naeng sidebar}}Written by Inthar |
| '''Bjeheondian music''' is a monophonic tradition based on [[Netagin]] music. In modern times it is usually notated based on 19 equal divisions of the octave (19edo), however real-world intonational practices differ by region and context. Liturgical and folk music is usually based on scales similar to the semiquartal (5L 4s MOS) scale, the nine-note scale 331313131 which is an extension of the familiar pentatonic scale. Diatonic-like melodic shapes sometimes arise as a consequence of altering the semiquartal scale.
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| Folk music is not fixed to a particular tuning and may use traditional microtonal inflections or fine-tuned intervals.
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| A ''hanier'' /hɐ'nɪɾ/ (literally 'stepping'; Wdm. ''hănier'') consists of a nine-note scale plus which subsets to emphasize, either a set of two ''pezům'' /pɛ'zuəm/ (pentachords, lit. 'set of five'; Wdm. ''păsuam'') or a framework based on a ''buri'' /by'ɾi/ (lit. 'sprint'; Wdm. ''büri''), a pentatonic subset where 1\19 is not used as a step. Different styles encourage different subset use.
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| Some important modern ''hanier'' artists include composers Baqůr Dygieč and Qypaš Nabak and singer Stow fa Fitsmil. Some modern composers have introduced hanier counterpoint.
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| == Instruments ==
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| Basically maqam instruments
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| == History ==
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| There is evidence that the Netagin at one point used a quasi-equiheptatonic system similar to our Thai music. Older musical treatises describe a 14-note system, suggesting that 7 more notes were added to the octave for extra chromatic gestures. The chromatic gestures used in melodic music developed over time resulting in the ''hanier'' system.
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| Talman influence eventually led the Netagin to adopt 19edo as their abstract gamut. Though the Netagin traditionally did not view the 9-note framework as a tempered JI framework, later Windermere influence also shifted performance practice towards 2.3.7 JI in certain (esp. harmonic) contexts, establishing 7-limit JI notes as acceptable variations of the existing notes. Nowadays, some Netagin-speaking areas and contexts are close to following the tempered 2.3.7 interpretation (called semaphore[9] in regular temperament theory), using different JI preimages for the same scale note depending on context. However, most contexts and regions have retained JI-agnostic intonation practices.
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| 33edo and larger edos have also been proposed to describe the ''hanier'' system.
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| ==''Pezům''s==
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| In theory, there are six possible ''pezům''s, with large (3\19) and small (1\19) steps that build up a scale. One adds an additional note above the fourth, usually a perfect fifth, but sometimes a tritone.
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| # ''pezům Qykabavin'': 3311
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| # ''pezům Lannin'': 3131 (The modern ''Lannie'' mode of the semiquartal scale is made of two ''pezům Lannin''.)
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| # ''pezům Qahdiebin'': 3113
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| # ''pezům Zierokin'': 1331 (The modern ''Zierokie'' mode begins with a ''pezům Zierokin''.)
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| # ''pezům Vašmin'': 1313 (The modern ''Vašmie'' mode is made of two ''pezům Vašmin''.)
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| # ''pezům Nobbaxin'': 1133
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| In practice, usually only the first five are used. The two ''pezům''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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| A style that emphasizes ''pezům''s is preferred for folk music.
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| Other ''pezům''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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| | '''Tumhanian music''' is a monophonic tradition based on [[Anbirese]]/[[Netagin]] music called the ''hanier'' (Ntg. 'stepping') tradition, which in modern times is based on pentatonic scale subsets of 24 equal divisions of the octave. The premise of the ''hanier'' tradition is "What if Arabic maqam was pentatonic and neutralized 2L3s (the Western pentatonic scale), instead of being heptatonic and neutralizing 5L2s (the diatonic scale)?" |
| == ''Buri''s == | | == ''Buri''s == |
| [[File:pezeom.png|thumbnail|The ''Lannie'' mode of the 9-note scale, with the ''buri'' 0-250-500-700-950-1200 highlighted (notated in 19edo).]]
| | The ''buri'' (Ntg. 'sprint') is roughly equivalent to the ''jins'' in Arabic music. However, they usually span a fifth instead of a fourth. |
| | | * 0 200 400 700 = "Antikurd" |
| ''Buri''s are said to sound brighter and are preferred for ceremonial and liturgical music. | | * 0 200 500 700 = "Antinahawand" |
| | | * 0 300 500 700 = "Antiajam" |
| Common ''buri''s are (TODO: Netagin names):
| | * 0 200 450 700 = "Rast" |
| * ''buri Gulin'': C-D#-F-G-A#-C ("the most neutral-sounding") | | * 0 250 500 700 = "Bayati" |
| * ''buri Čibůnin'': C-D-E-G-A-C ("mellow and joyful") | | * 0 250 450 = "Sikah" |
| * ''buri Qolšin'': C-D-E-G-A#-C ("pompous") | | * 0 300 400 700 = "Antihijaz" |
| * ''buri Pacvin'': C-D#-E#-G-A#-C ("majestic") | | * 0 250 500 600 = "Saba" |
| * ''buri Pacvin Gatru'': C-D-E#-G-A#-C ("unsettled, suspended") | | * 0 100 500 600 = Locrian |
| * ''buri Qivvajin'': C-D#-E#-G#-A-C ("slightly anxious and distressed") | | * 0 150 300 700 |
| * ''buri Jemačtin'': C-Eb-F-G-Bb-C | | * 0 150 500 700 |
| Rarer ''buri''s:
| | * 0 400 600 700 |
| * ''buri Zyvadin'': C-Eb-F-G-A#-Cb ("exotic")
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| * ''buri Jolqin'': C-D#-F#-Ab-Bb-C 0-250-550-800-1000-1200 ("disoriented") | |
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| == Harmony in the semiquartal scale==
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| Semiquartal modal harmony (''vynbear'' 'togetherness') is a more modern construct. A particular style of it was pioneered by the Brycþéñ lly Frindu Jydylisríz and has gained some popularity in the Windermere Commonwealth, and "popular hanier" has begun incorporating it.
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| Modes of the 9-note scale are called ''hačama'' (sg. ''hačame'', lit. facial expression). These are distinct from the traditional ''hanier''s.
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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 (Tsimmaïan) | |
| *''Tavůlie'': LsLLsLsLs (Tavulian) | |
| *''Lannie'': LsLsLLsLs (Lannian) | |
| *''Bonžie'': LsLsLsLLs (Bonzhian)
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| *''Ťitůpie'': LsLsLsLsL (Tjitupian)
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| *''Zierokie'': 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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| Functional harmony is based on using 4L 1s modes and their subsets on functional degrees.
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| == Rhythm ==
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| Bjeheondian rhythm is based on complex rhythmic cycles known as ''tălea'' in Windermere (from Ntg. ''talea'', from t-l-j), often consisting of more than 10 beats per "measure". (Steal from konnakol)
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| == Influences on other Trician musics == | | == ''Pezům''s == |
| The Netagin ''hanier'' system inspired Talman theorist [[Verse:Tricin/Etsoj Jopah|Etsoj Jopah]] to invent the 7-limit [https://en.xen.wiki/w/Diasem diasem] JI scale, one chirality of which goes LMLSLMLSL with L = 9/8, M = 28/27 and S = 64/63. This JI scale has misleadingly been called the "Netagin scale" by Talmans and Talmic speakers. The JI scale is a staple in low-complexity-JI- or RTT-based music in modern Tricin, scales of the same step pattern also being used in JI-agnostic contexts. The Skellan national anthem is in a Locrian-like mode of the diasem scale.
| | ''Pezům'' or ''hanier'' is a word for what roughly corresponds to a pentatonic subset scale of 24edo. Like the word ''maqam'', ''hanier'' may be used both as a synonym for the whole tradition and for types of scales used in the tradition. |
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| [[Category:Music]] | | [[Category:Music]] |
| [[Category:Windermere]] | | [[Category:Naeng]] |