Verse:Tricin/Musical traditions archaeology: Difference between revisions

Line 63:

The ''bæ{{ring}}{{cdb}}m'' does not get its own staff, instead the beats are marked with slashes over the other instrumental parts. Some modern composers, like Fryd Gla{{cdb}}nq Sæ{{ring}} do not support this and instead use the ''bæ{{ring}}{{cdb}}m'' as a pitched percussion instrument, using a set of three ''bæ{{ring}}{{cdb}}m'' tuned to 80, 100, and 120.

==Ensembles==

== Ensembles ==

All ensembles (commonly called ''ke{{~~tilde~~}}d'') must contain a ''væ{{tilde}}'', and a ''bæ{{ring}}{{cdb}}m'' as the tonal and rhythmic base respectively for the entire ensemble.

All ensembles (commonly called ''ke{{cdb}}dq'') must contain a ''væ{{tilde}}'', and a ''bæ{{ring}}{{cdb}}m'' as the tonal and rhythmic base respectively for the entire ensemble.

The largest Æ traditional ensemble, the ''ke{{cdb}}dq slă{{grave}}n gro{{tilde}}d'' consists of one of all the instruments listed above.

==Styles==

The most common folk style is a monophonic melody over a drone on 1/1 and 3/2 of the tonic of the mode. It is mostly rhythmic but with complex changing meter.

The most common folk style is a monophonic melody over a drone on 1/1 and 3/2 of the tonic of the mode. It is mostly rhythmic but with complex changing meter. A number of Æ dances are listed below in the context of the ''slă{{grave}}n gro{{tilde}}d'' (dance cycle).

=== ~~slă~~{{grave}}n ~~Grø~~{{~~cdb~~}}mq (dance cycle) ===

The dance cycle form (slă{{grave}}n ~~Grø~~{{~~cdb~~}}mq) is the longest of all Æ traditional musical styles. The traditional order of the sections is so:

=== ''Slă{{grave}}n gro{{tilde}}d'' (dance cycle) ===

The dance cycle form (''slă{{grave}}n gro{{tilde}}d'') is the longest of all Æ traditional musical styles. The traditional order of the sections is so:

* The main rhythms of each dance is played by the ''bæ{{ring}}{{cdb}}m''.

* The beginning is in ''vọj Bæ̀v'' and is an arythmic improvisation, usually by the ''slů̀'' or ''æ̉m'', or both, in imitation.

* The next section is a medium-tempo (about 3 beats per second) dance in 16/8 called ''gro{{tilde}}d Njrå̉v'' in ''vọj Jav Læ{{cdb}}q''. Its main rhythm is:

\ . . \ . . \ . . \ . . \ . \ .

* The next section is a slower dance (about 2.5 beats per second) in 14/8 called ''gro{{tilde}}d Fo{{acute}}vq'' in ''vọj Kyn''. Its main rhythm ~~played by the ''Gro{{tilde}}d bæ{{ring}}{{cdb}}m''~~ is:

* The next section is a slower dance (about 2.5 beats per second) in 14/8 called ''gro{{tilde}}d Fo{{acute}}vq'' in ''vọj Kyn''. Its main rhythm is:

\ . . \ . . \ . . \ . . \ .

* The next section is a slow dance (about 2 beats per second) in 10/8 called ''gro{{tilde}}d Sle Fảjq'' in ''vọj Gjám''. Its main rhythm is:

\ . \ . \ . \ . \ \

* The final section is a slow dance, played at the same tempo as the ''gro{{tilde}}d Sle Fảjq'', in 16/8, called the ''gro{{tilde}}d Ů{{tilde}}q'' in ''vọj Hír Må̉r''. Its main rhythm is:

* \ . . . \ . . . \ . . \ \ . \ .

\ . . . \ . . . \ . . \ \ . \ .

@@ Line 63: / Line 63: @@
 The ''bæ{{ring}}{{cdb}}m'' does not get its own staff, instead the beats are marked with slashes over the other instrumental parts. Some modern composers, like Fryd Gla{{cdb}}nq Sæ{{ring}} do not support this and instead use the ''bæ{{ring}}{{cdb}}m'' as a pitched percussion instrument, using a set of three ''bæ{{ring}}{{cdb}}m'' tuned to 8<sup>0</sup>, 10<sup>0</sup>, and 12<sup>0</sup>.
-==Ensembles==
+== Ensembles ==
-All ensembles (commonly called ''ke{{tilde}}d'') must contain a ''væ{{tilde}}'', and a ''bæ{{ring}}{{cdb}}m'' as the tonal and rhythmic base respectively for the entire ensemble.
+All ensembles (commonly called ''ke{{cdb}}dq'') must contain a ''væ{{tilde}}'', and a ''bæ{{ring}}{{cdb}}m'' as the tonal and rhythmic base respectively for the entire ensemble.
+The largest Æ traditional ensemble, the ''ke{{cdb}}dq slă{{grave}}n gro{{tilde}}d'' consists of one of all the instruments listed above.
 ==Styles==
-The most common folk style is a monophonic melody over a drone on 1/1 and 3/2 of the tonic of the mode. It is mostly rhythmic but with complex changing meter.
+The most common folk style is a monophonic melody over a drone on 1/1 and 3/2 of the tonic of the mode. It is mostly rhythmic but with complex changing meter. A number of Æ dances are listed below in the context of the ''slă{{grave}}n gro{{tilde}}d'' (dance cycle).
-=== slă{{grave}}n Grø{{cdb}}mq (dance cycle) ===
-The dance cycle form (slă{{grave}}n Grø{{cdb}}mq) is the longest of all Æ traditional musical styles. The traditional order of the sections is so:
+=== ''Slă{{grave}}n gro{{tilde}}d'' (dance cycle) ===
+The dance cycle form (''slă{{grave}}n gro{{tilde}}d'') is the longest of all Æ traditional musical styles. The traditional order of the sections is so:
 * The main rhythms of each dance is played by the ''bæ{{ring}}{{cdb}}m''.
 * The beginning is in ''vọj Bæ̀v'' and is an arythmic improvisation, usually by the ''slů̀'' or ''æ̉m'', or both, in imitation.
 * The next section is a medium-tempo (about 3 beats per second) dance in 16/8 called ''gro{{tilde}}d Njrå̉v'' in ''vọj Jav Læ{{cdb}}q''. Its main rhythm is:
   \ . . \ . . \ . . \ . . \ . \ .
-* The next section is a slower dance (about 2.5 beats per second) in 14/8 called ''gro{{tilde}}d Fo{{acute}}vq'' in ''vọj Kyn''. Its main rhythm played by the ''Gro{{tilde}}d bæ{{ring}}{{cdb}}m'' is:
+* The next section is a slower dance (about 2.5 beats per second) in 14/8 called ''gro{{tilde}}d Fo{{acute}}vq'' in ''vọj Kyn''. Its main rhythm is:
   \ . . \ . . \ . . \ . . \ .
 * The next section is a slow dance (about 2 beats per second) in 10/8 called ''gro{{tilde}}d Sle Fảjq'' in ''vọj Gjám''. Its main rhythm is:
   \ . \ . \ . \ . \ \
 * The final section is a slow dance, played at the same tempo as the ''gro{{tilde}}d Sle Fảjq'', in 16/8, called the ''gro{{tilde}}d Ů{{tilde}}q'' in ''vọj Hír Må̉r''. Its main rhythm is:
-* \ . . . \ . . . \ . . \ \ . \ .
+ \ . . . \ . . . \ . . \ \ . \ .