Netagin/Music

Scales

Netagin music, both classical and modern, is usually taught based on 19 equal divisions of the octave (19edo), a 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 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 nine-note MOS scale 331313131 (called godzilla[9] in regular temperament theory; which also exists in 24edo, 43edo and 62edo which are sometimes preferred specifically for tuning this scale) which is an extension of the familiar pentatonic scale. This article mainly deals with the use of the nonatonic 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.

Buris

In theory, the six possible buris with large (C-D) and small (C-C#) steps that build up a scale are:

1. C-D-E-E#-F
2. C-D-Ebb-E#-F
3. C-D-Ebb-Eb-F
4. C-Dbb-Ebb-E#-F
5. C-Dbb-Ebb-Eb-F
6. C-Dbb-Db-E#-F

In practice, usually only the first five are used. The two buris 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 buris is preferred for dark, mournful or creepy music (to emphasizing pezůms).

Other buris which include 2\19 (about 126 cents) steps:

• C-D-Ebb-E-F
• C-Db-Ebb-E#-F
• C-Db-Ebb-E-F

Pezůms

The Giganian mode of the 9-note scale, with the pezům 0-250-500-700-950-1200 highlighted (notated in 19edo).

Pezůms are said to sound brighter.

Common pezůms 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 pezůms:

• C-Eb-F-G-A#-Cb ("exotic")
• C-D#-F#-Ab-Bb-C 0-250-550-800-1000-1200 ("disoriented")

Counterpoint

Mainly based on pezums 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

Nonatonic 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)
• Lynkědie: LsLsLLsLs (Lynkaedian)
• Bonžie: LsLsLsLLs (Bonzhian)
• Ťatůpie: LsLsLsLsL (Tjatupian)
• Zieřokie: sLLsLsLsL (Zierokian)
• Daqěmie: sLsLLsLsL (Da'aemian)
• Pahnačie: sLsLsLLsL (Pahnachian)
• Qyporie: sLsLsLsLL (Iporian)

Functional harmony

Many of the harmonic functions carry over from diatonic, because the nonatonic scale has fifths and seconds similar to that of diatonic. The functions new to nonatonic 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