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| {{construction}} | | {{Naeng sidebar}}Written by Inthar |
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| | '''Bjeheondian music''' is a monophonic tradition based on [[Netagin]] music called the ''hanier'' (Ntg. 'stepping') tradition, which in modern times is based on pentatonic scale subsets of 24 equal divisions of the octave. The premise of the ''hanier'' tradition is "What if Arabic maqam was pentatonic and neutralized 2L3s (the Western pentatonic scale), instead of being heptatonic and neutralizing 5L2s (the diatonic scale)?" |
| | == ''Buri''s == |
| | The ''buri'' (Ntg. 'sprint') is roughly equivalent to the ''jins'' in Arabic music. However, they usually span a fifth instead of a fourth. |
| | * 0 200 400 700 = "Antikurd" |
| | * 0 200 500 700 = "Antinahawand" |
| | * 0 300 500 700 = "Antiajam" |
| | * 0 200 450 700 = "Rast" |
| | * 0 250 500 700 = "Bayati" |
| | * 0 250 450 = "Sikah" |
| | * 0 300 400 700 = "Antihijaz" |
| | * 0 250 500 600 = "Saba" |
| | * 0 100 500 600 = Locrian |
| | * 0 150 300 700 |
| | * 0 150 500 700 |
| | * 0 400 600 700 |
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| Netagin music, both classical and modern, is usually taught based on 19 equal divisions of the octave (19edo), a [[w:Regular diatonic tuning|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 [[w:cent (music)|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 semiquartal scale, the nine-note MOS scale 331313131 which is an extension of the familiar pentatonic scale. This article mainly deals with the use of the semiquartal scale in Netagin music.
| | == ''Pezům''s == |
| | | ''Pezům'' or ''hanier'' is a word for what roughly corresponds to a pentatonic subset scale of 24edo. Like the word ''maqam'', ''hanier'' may be used both as a synonym for the whole tradition and for types of scales used in the tradition. |
| Liturgical chanting is not fixed to a particular tuning and may use traditional microtonal inflections or fine-tuned intervals.
| | * 0 300 500 700 1000 1200 1400 |
| | | * 0 250 500 700 950 1200 1400 |
| 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.
| | * 0 200 500 700 900 1200 1400 |
| | | * 0 200 400 700 900 1200 1400 |
| 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.
| | * 0 200 450 700 950 1200 1400 |
| | | * 0 250 450 600 850 1100 1300 |
| ==''Buri''s==
| | * 0 300 400 700 900 1200 1400 |
| In theory, the six possible ''buri''s with large (C-D) and small (C-C#) steps that build up a scale are:
| | * 0 100 500 600 1000 1200 1300 |
| #C-D-E-E#-F
| | * 0 150 300 700 850 1200 1400 |
| #C-D-Ebb-E#-F
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| #C-D-Ebb-Eb-F
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| #C-Dbb-Ebb-E#-F
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| #C-Dbb-Ebb-Eb-F
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| #C-Dbb-Db-E#-F
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| In practice, usually only the first five are used. The two ''buri''s 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).
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| The top note of a ''buri'' functions similarly to the ''ghammāz'' in Arabic ''ajnās''.
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| A style that emphasizes ''buri''s is preferred for dark, mournful or creepy music (to emphasizing ''pezům''s).
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| Other ''buri''s which include 2\19 (about 126 cents) steps:
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| *C-D-Ebb-E-F | |
| *C-Db-Ebb-E#-F
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| *C-Db-Ebb-E-F | |
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| ==''Pezům''s==
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| [[File:pezeom.png|thumbnail|The ''Lynkědie'' mode of the 9-note scale, with the ''pezům'' 0-250-500-700-950-1200 highlighted (notated in 19edo).]]
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| ''Pezům''s are said to sound brighter.
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| Common ''pezům''s are (TODO: Netagin names):
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| *C-D#-F-G-A#-C ("the most neutral-sounding")
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| *C-D-E-G-A-C ("mellow and joyful")
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| *C-D-E-G-A#-C ("pompous")
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| *C-D#-E#-G-A#-C ("majectic")
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| *C-D-E#-G-A#-C ("unsettled, suspended")
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| *C-D#-E#-G#-A-C ("slightly anxious and distressed")
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| *C-Eb-F-G-Bb-C
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| Rarer ''pezům''s:
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| *C-Eb-F-G-A#-Cb ("exotic")
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| *C-D#-F#-Ab-Bb-C 0-250-550-800-1000-1200 ("disoriented") | |
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| ==Counterpoint==
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| Mainly based on ''pezum''s with ornamentations as needed?
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| ===Contrary motion===
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| *You can resolve to 250 inward.
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| *400 can open to 500 | |
| *450 can open to 700 | |
| *950 can open to 1200
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| *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. | |
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| ===Parallel motion===
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| *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.
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| *Parallel mosthirds (250 or 400) work less well; widen parallel mosthirds by octaves.
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| *Avoid parallel fourths or fifths unless you have a good reason to use them.
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| *Avoid parallel seconds or sevenths
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| ==Harmony==
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| 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.
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| ===MOS modes===
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| Modes of the 9-note scale are called ''hačama'' (sg. ''hačame'', lit. facial expression).
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| TODO: Netagin names
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| L = C-D, s = C-C# (C-C half-sharp in 24edo)
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| *''Cimmaqie'': LLsLsLsLs (Tsimma'ian)
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| *''Tavůlie'': LsLLsLsLs (Tavulian)
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| *''Lannie'': LsLsLLsLs (Lannian)
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| *''Bonžie'': LsLsLsLLs (Bonzhian)
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| *''Ťatůpie'': LsLsLsLsL (Tjatupian)
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| *''Zieřokie'': sLLsLsLsL (Zierokian)
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| *''Vašmie'': sLsLLsLsL (Vashmian)
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| *''Pahnačie'': sLsLsLLsL (Pahnachian)
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| *''Qyporie'': sLsLsLsLL (Iporian)
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| ===MODMOS modes===
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| ===Functional harmony===
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| Many of the harmonic functions carry over from diatonic, because the semiquartal scale has fifths and seconds similar to that of diatonic. The functions new to semiquartal 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).
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| *I. Tonic
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| *II. Supertonic
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| *III. '''Semisubdominant'''/Mediant (major)
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| *IV. Mediant (minor)/'''Semidominant'''
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| *V. Subdominant (aka leading tone to dominant)
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| *VI. Dominant
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| *VII. '''Semisubtonic'''/Submediant(major)
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| *VIII. Submediant(minor)/'''Hemidominant'''
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| *IX. Subtonic/Leading tone
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| ==Diatonic music==
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| Renaissance-esque, choral stuff?
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| Altered diatonic scales
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