Verse:Mwail/Bjeheond/Music
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Bjeheondian music is based on Netagin music, which is usually taught based on 14 equal divisions of the octave (14edo). Liturgical and folk music is usually based on either (1) the equi-heptatonic scale, or (2) scales similar to the semiquartal scale, the nine-note scale 221212121 which is an extension of the familiar pentatonic scale. This article mainly deals with the use of the semiquartal 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 /hɐ'nɪɾ/ (literally 'stepping') consists of a nine-note scale plus which subsets to emphasize, either a set of two pezům /pɛ'zuəm/ (pentachords, lit. 'set of five') or a framework based on a buri /by'ɾi/ (lit. 'sprint'), 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.
Pezůms
In theory, there are six possible pezůms, with large (2\14) and small (1\14) steps that build up a scale. One adds an additional note above the fourth, usually a perfect fifth, but sometimes a tritone.
- pezům Qykabavin: 2211
- pezům Lannin: 2121 (The modern Lannie mode of the semiquartal scale is made of two pezům Lannin.)
- pezům Qahdiebin: 2112
- pezům Zierokin: 1221 (The modern Zierokie mode begins with a pezům Zierokin.)
- pezům Vašmin: 1212 (The modern Vašmie mode is made of two pezům Vašmin.)
- pezům Nobbaxin: 1122
In practice, usually only the first five are used. The two pezůms 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).
A style that emphasizes pezůms is preferred for dark, mournful or creepy music (to emphasizing pezůms).
Other pezůms which include 2\19 (about 126 cents) steps:
- C-D-Ebb-E-F
- C-Db-Ebb-E#-F
- C-Db-Ebb-E-F
Buris
Buris are said to sound brighter.
Common buris 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 buris:
- C-Eb-F-G-A#-Cb ("exotic")
- C-D#-F#-Ab-Bb-C 0-250-550-800-1000-1200 ("disoriented")
Chanting
Mainly based on buris with ornamentations as needed?
Harmony
Semiquartal 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.
Semiquartal
Modes of the 9-note scale are called hačama (sg. hačame, lit. facial expression). These are distinct from the traditional hanirs.
TODO: Netagin names
L = C-D, s = C-C# (C-C half-sharp in 24edo)
- Cimmaqie: LLsLsLsLs (Tsimmaïan)
- Tavůlie: LsLLsLsLs (Tavulian)
- Lannie: LsLsLLsLs (Lannian)
- Bonžie: LsLsLsLLs (Bonzhian)
- Ťatůpie: LsLsLsLsL (Tjatupian)
- Zierokie: sLLsLsLsL (Zierokian)
- Vašmie: sLsLLsLsL (Vashmian)
- Pahnačie: sLsLsLLsL (Pahnachian)
- Qyporie: sLsLsLsLL (Iporian)
Influences on other Trician musics
The Netagin musical system inspired Talman theorist Etsoj Jopah to invent the 7-limit diasem scale, LMLSLMLSL with L = 9/8, M = 28/27 and S = 64/63