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The general term for an n-chord in Sjowaazheñ is ''hañbaac'' (pl. ''hañbaacin''). | The general term for an n-chord in Sjowaazheñ is ''hañbaac'' (pl. ''hañbaacin''). | ||
The octave may be divided into two perfect fourths plus one whole tone, to form an '' 'aañjh''. However, in monophonic music, the perfect fourths divided into ''hañbaacin'' may even be stacked on top of each other indefinitely, without regard to octave equivalence, a practice called ''shiilyohookh''. The same ''hañbaac'' or melody may be imitated a fourth above or below in this case. Or, the melody may be parallel fourths in an organum-like fashion (the only example of harmony in Sjowaazheñ music?). | The octave may be divided into two perfect fourths plus one whole tone, to form an '' 'aañjh''. However, in monophonic music, the perfect fourths divided into ''hañbaacin'' may even be stacked on top of each other indefinitely, without regard to octave equivalence, a practice called ''shiilyohookh''. The same ''hañbaac'' 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 Sjowaazheñ music?). | ||
[[Verse:Tricin/Etsoj Jopah|Etsoj Jopah]] analyzed ''hañbaacin'' in terms of rational divisions of string lengths. More recently, the theorist Wañjeyi proposed representing the Sjowaazheñ 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 ''hañbaacin'' in terms of rational divisions of string lengths. More recently, the theorist Wañjeyi proposed representing the Sjowaazheñ 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. | ||