Verse:Hmøøh/Suwáábyíq/Music: Difference between revisions

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The Sjowaázh tradition takes a purely melodic, rather than harmonic, approach to tuning, unlike the [[Verse:Tricin/Talma/Music|Talman]] and [[Verse:Tricin/Bjeheond/Music|Bjeheondian]] traditions. Traditionally, the building blocks of Sjowaázh scales are tetrachords or pentachords, i.e. divisions of the perfect fourth into three or four intervals. Innovations over the years have led to finer divisions or "n-chords" of the perfect fourth being used in elite music. Nevertheless, steps in any n-chord are no smaller than about 50 cents.
The Sjowaázh tradition takes a purely melodic, rather than harmonic, approach to tuning, unlike the [[Verse:Tricin/Talma/Music|Talman]] and [[Verse:Tricin/Bjeheond/Music|Bjeheondian]] traditions. Traditionally, the building blocks of Sjowaázh scales are tetrachords or pentachords, i.e. divisions of the perfect fourth into three or four intervals. Innovations over the years have led to finer divisions or "n-chords" of the perfect fourth being used in elite music. Nevertheless, steps in any n-chord are no smaller than about 50 cents.


The general term for a division of the fourth in Sjowaázh is ''hañbaáj'' (pl. ''hañbaajín'').
The general term for a division of the fourth in Sjowaázh is ''hañbaáj''.


The octave may be divided into two perfect fourths plus one whole tone, to form a scale type known as '' 'áañjh''. However, in monophonic music, the perfect fourths divided into ''hañbaajín'' may even be stacked on top of each other indefinitely, without regard to octave equivalence, a practice called ''shiilyohóokh''. The same ''hañbaáj'' or melody may be imitated a fourth above or below in this case. Or, the melody may be voiced in parallel fourths in an organum-like fashion (the only example of harmony in Sjowaázh music).
The octave may be divided into two perfect fourths plus one whole tone, to form a scale type known as '' 'áañjh''. The perfect fourths divided into ''hañbaaj'' may also be stacked on top of each other indefinitely, without regard to octave equivalence, a practice called ''shiilyohóokh''. The same ''hañbaáj'' or melody may be imitated a fourth above or below in this case. Or, the melody may be voiced in parallel fourths in an organum-like fashion (the only example of harmony in Sjowaázh music).


[[Verse:Tricin/Etsoj Jopah|Etsoj Jopah]] analyzed ''hañbaajín'' in terms of rational divisions of string lengths. More recently, the theorist Woñjéyi proposed representing the Sjowaázh musical system by dividing the octave into 58 equal parts. One of his rationales was that the perfect fourth in 58edo is 24 steps, a highly composite number.
[[Verse:Tricin/Etsoj Jopah|Etsoj Jopah]] analyzed ''hañbaaj'' in terms of rational divisions of string lengths. More recently, the theorist Woñjéyi proposed representing the Sjowaázh musical system by dividing the octave into 58 equal parts. One of his rationales was that the perfect fourth in 58edo is 24 steps, a highly composite number.


====Some ''hañbaajín''====
====Some ''hañbaaj''====
There are some hundreds of ''hañbaajín''.
There are some hundreds of ''hañbaaj''.


The numbers shown are approximate 58 equal temperament equivalents of step sizes.
The numbers shown are approximate 58 equal temperament equivalents of step sizes.
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*''jhatóñsheh'': 3 9 7 3
*''jhatóñsheh'': 3 9 7 3


=====Larger ''hañbaajín''=====
=====Larger ''hañbaaj''=====


===Rhythm===
===Rhythm===
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