User:IlL/Spare pages 1/80: Difference between revisions

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===Tuning===
===Tuning===
Shalian music is based on [http://sethares.engr.wisc.edu/paperspdf/Erlich-22.pdf decatonic scales], which are built on
# 7-limit tempered pentatonic scales which are commonly used to build tension, and
# septimal tetrads (esp. voicings of 4:5:6:7) which may be used as harmonic resolutions.
The scales are modes (possibly with chromatic modifications) of
*pentachordal: G G#v A Bv C C#v D Ev F F#v G
*symmetric: G G#v A Bv C C#v D Eb^ F F#v G
Old Shalian and Idosian sources describe a just intonation system based on ratios of 3 and 5, which was much like the system of 22 shrutis described in early Indian works.
When tetrachords from Hetom became popular, Shalian scholar Bów'ti Asínsim ("Bów'ti the Swuntsim") tried to extend the early 22-note system to make it more compatible with playing various tetrachords found in Hetomic music theory. The result was a scale of 34 notes per octave.
As Shalian music embraced vocal polyphony it saw a move away from tetrachords and towards more harmonic, chord-based sounds. Emphasizing JI ratios of 7 became desirable. Thus fixed pitch instruments were tuned to 22-note well-tempered scales with good harmonic sevenths. Modern Shalian music is standardized to 22-tone equal temperament, which does not always reflect musical reality exactly, as unaccompanied Shalian polyphonic vocal music is intoned more accurately and sometimes uses bends.
====Consonance and dissonance====
Consonant:
*perfect fifth and fourth
*5/4 and 6/5
*9/8~8/7 and 7/6
*tritone or half-octave
Semi-consonant:
*16/15 and 10/9~11/10~12/11
Dissonant:
*9/7
*11/8 and 16/11
*1-step and 21-step intervals
Triads may be considered stable in some contexts but they are more often used to "modulate" rather than to stabilize.
Of the decatonic 1-4-7-9 tetrads, 4:5:6:7 is considered the most consonant tetrad, followed by the minor tetrad 1/(4:5:6:7), followed by other types.
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