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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. | |||
Liturgical chanting is not fixed to a particular tuning and may use traditional microtonal inflections or fine-tuned intervals. | |||
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. | |||
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. | |||
== | ==''Buri''s== | ||
In theory, the six possible ''buri''s with large (C-D) and small (C-C#) steps that build up a scale are: | |||
#C-D-E-E#-F | |||
#C-D-Ebb-E#-F | |||
#C-D-Ebb-Eb-F | |||
#C-Dbb-Ebb-E#-F | |||
#C-Dbb-Ebb-Eb-F | |||
#C-Dbb-Db-E#-F | |||
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). | |||
The top note of a ''buri'' functions similarly to the ''ghammāz'' in Arabic ''ajnās''. | |||
A style that emphasizes ''buri''s is preferred for dark, mournful or creepy music (to emphasizing ''pezům''s). | |||
Other ''buri''s which include 2\19 (about 126 cents) steps: | |||
*C-D-Ebb-E-F | |||
*C-Db-Ebb-E#-F | |||
*C-Db-Ebb-E-F | |||
==''Pezům''s== | |||
[[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).]] | |||
''Pezům''s are said to sound brighter. | |||
Common ''pezům''s are (TODO: Netagin names): | |||
*C-D#-F-G-A#-C ("the most neutral-sounding") | |||
*C-D-E-G-A-C ("mellow and joyful") | |||
*C-D-E-G-A#-C ("pompous") | |||
*C-D#-E#-G-A#-C ("majectic") | |||
*C-D-E#-G-A#-C ("unsettled, suspended") | |||
*C-D#-E#-G#-A-C ("slightly anxious and distressed") | |||
*C-Eb-F-G-Bb-C | |||
Rarer ''pezům''s: | |||
*C-Eb-F-G-A#-Cb ("exotic") | |||
*C-D#-F#-Ab-Bb-C 0-250-550-800-1000-1200 ("disoriented") | |||
==Counterpoint== | |||
Mainly based on ''pezum''s with ornamentations as needed? | |||
=== | ===Contrary motion=== | ||
*You can resolve to 250 inward. | |||
*400 can open to 500 | |||
*450 can open to 700 | |||
*950 can open to 1200 | |||
*be aware that naiadics are highly active: try to resolve naiadics to intervals or use them as a jumping point to modulate. | |||
*250 is relatively stable so you should close down to it using contrary motion, it wont work as well as parallel thirds, tho. | |||
*500 and 1000 are ambiguous suspended intervals. | |||
===Parallel motion=== | |||
*Parallel mosfourths (450 or 300) are good for contrasting the consonant 300 with the rougher 450. Parallel mossevenths (750 or 900) are similar. | |||
*Parallel moseighths (950 or 800) are ok. | |||
*Parallel mosthirds (250 or 400) work less well; widen parallel mosthirds by octaves. | |||
*Avoid parallel fourths or fifths unless you have a good reason to use them. | |||
*Avoid parallel seconds or sevenths | |||
==Harmony== | |||
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. | |||
===MOS modes=== | |||
Modes of the 9-note scale are called ''hačama'' (sg. ''hačame'', lit. facial expression). | |||
TODO: Netagin names | |||
L = C-D, s = C-C# (C-C half-sharp in 24edo) | |||
*''Cimmaqie'': LLsLsLsLs (Tsimma'ian) | |||
*''Tavůlie'': LsLLsLsLs (Tavulian) | |||
*''Lannie'': LsLsLLsLs (Lannian) | |||
*''Bonžie'': LsLsLsLLs (Bonzhian) | |||
*''Ťatůpie'': LsLsLsLsL (Tjatupian) | |||
*''Zieřokie'': sLLsLsLsL (Zierokian) | |||
*''Vašmie'': sLsLLsLsL (Vashmian) | |||
*''Pahnačie'': sLsLsLLsL (Pahnachian) | |||
*''Qyporie'': sLsLsLsLL (Iporian) | |||
===MODMOS modes=== | |||
===Functional harmony=== | |||
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). | |||
*I. Tonic | |||
*II. Supertonic | |||
*III. '''Semisubdominant'''/Mediant (major) | |||
*IV. Mediant (minor)/'''Semidominant''' | |||
*V. Subdominant (aka leading tone to dominant) | |||
*VI. Dominant | |||
*VII. '''Semisubtonic'''/Submediant(major) | |||
*VIII. Submediant(minor)/'''Hemidominant''' | |||
*IX. Subtonic/Leading tone | |||
==Diatonic music== | |||
Renaissance-esque, choral stuff? | |||
Altered diatonic scales | |||
[[Category:Music]] | [[Category:Music]] | ||
[[Category:Windermere]] | [[Category:Windermere]] |