Verse:Hmøøh/Bjeheond/Music: Difference between revisions

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==Miscellaneous ideas==


==Hlou-Shum music==


The first orchestras ([[Hlou]]: ''Ve Rein'', literally 'musical groups') in Bjeheond were invented by ancient [[Hlou-Shum languages|Hlou-Shum]] speaking musicians.
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.


A popular instrument in [[Hlou]] and [[Ko]] music is the ''Blad'' which is a curled-up long plant leaf (similar to a banana leaf) that when blown, produces a shrill, high pitched sound. Different pitches can be produced by pulling on the ''Blad''.
Liturgical chanting is not fixed to a particular tuning and may use traditional microtonal inflections or fine-tuned intervals.


Other commonly used instruments are the jaw harp (''Schön Ried''), the tromba marina (''Trlöb Schmie''), the bowed psaltery (''Trlaub''), the slide guitar (''Dru''), uilleann pipes (''siamh fheigh'', used in Ko music), rebecs (''Ntzaun'') and violins (''Ntxäd'') of various sizes, and various kinds of prepared piano and guitar. Inharmonic and unpitched percussion instruments like chimes, woodblocks and rasps are also common.
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.


Other common instruments are the kantele (''Zeig Pfaß'', from Liai music), and the viola organista (a Windermere invention), tuned to harmonics from 4 to 16. The modern versions of these instruments have many pedals, like a harp, for the various ''Rag''s (sets of fundamentals) used in Hlou music.
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.


===Tuning===
==''Buri''s==
In theory, the six possible ''buri''s with large (C-D) and small (C-C#) steps that build up a scale are:
#C-D-E-E#-F
#C-D-Ebb-E#-F
#C-D-Ebb-Eb-F
#C-Dbb-Ebb-E#-F
#C-Dbb-Ebb-Eb-F
#C-Dbb-Db-E#-F
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).


Hlou musicians don't confine themselves to fixed tuning systems, except on fixed pitch instruments, which are typically tuned to JI scales based on the tonic G = 404 Hz.
The top note of a ''buri'' functions similarly to the ''ghammāz'' in Arabic ''ajnās''.


Melodies in Hlou music are inspired by the contours of speech, and follow the tones of the [[Hlou]] language.
A style that emphasizes ''buri''s is preferred for dark, mournful or creepy music (to emphasizing ''pezům''s).


Later Hlou music uses tunings that consist of many overtone scales on different fundamentals; often the fundamentals themselves form an overtone or undertone series, in the latter case producing a Partchian "tonality diamond" structure, coincidentally very similar to classical Gweats dynasty courtly music.
Other ''buri''s which include 2\19 (about 126 cents) steps:
*C-D-Ebb-E-F
*C-Db-Ebb-E#-F
*C-Db-Ebb-E-F


Some common tunings in the Romantic period:
==''Pezům''s==
*overtone scales up to the 16th harmonic on the fundamentals G 1/1, Eb 8/5, C 4/3, A 8/7 and F 16/9.
[[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).]]
*overtone scales up to the 12th harmonic on the fundamentals G 1/1, Eb 8/5, C 4/3, A 8/7, Ab 16/15, F 16/9, D 32/21, Bb 32/27 (higher harmonics above these fundamentals are technically allowed; they're just not used on fixed pitch instruments)


When working with the second tuning, composers often work with subsets of the set of possible fundamentals (called ''Rag''); e.g. they might only work with overtone series on G, Eb, C, Bb and Ab (a ''Rag'' called ''Schwan Ton'', which is a traditional ''Rag'' for the final pieces of concerts).
''Pezům''s are said to sound brighter.


Other common ''Rag''s are:
Common ''pezům''s 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 ''pezům''s:
*C-Eb-F-G-A#-Cb ("exotic")
*C-D#-F#-Ab-Bb-C 0-250-550-800-1000-1200 ("disoriented")


*''Flug Lieb'': overtone series on G, Ab, C, D, Eb
==Counterpoint==
*''Schloß Lieb'': overtone series on G, A, C, D, F
Mainly based on ''pezum''s with ornamentations as needed?
*''Rad Lieb'': overtone series on G, D, Eb
*''Schein Lieb'': overtone series on Ab, Bb, C, Eb, F
*''Schlaub'': overtone series on Ab, A, D, Eb


===Rhythm===
===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.


Hlou music makes use of complex rhythmic cycles, called ''Lei'', often consisting of more than 10 beats per "measure". Hlou rhythms are typically subdivided into groups (''Xeig'') of 2, 3, 4, 6, and 9. Groups of beats divisible by 3 are called ''schwei'' (complete); and the others are called ''eh schwei'' (incomplete).
===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


"da di gi nra dön", "da ga di mi", "da gi dra", etc. are used to vocalize drumbeats.
==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.
===MOS modes===
Modes of the 9-note scale are called ''hačama'' (sg. ''hačame'', lit. facial expression).


"gi dra da ga da di gi dra dön"
TODO: Netagin names
"di gu da ga da ri gi dra" etc.


"da lä gu dön", "da lä gu dön da di"
L = C-D, s = C-C# (C-C half-sharp in 24edo)
*''Cimmaqie'': LLsLsLsLs (Tsimma'ian)
*''Tavůlie'': LsLLsLsLs (Tavulian)
*''Lannie'': LsLsLLsLs (Lannian)
*''Bonžie'': LsLsLsLLs (Bonzhian)
*''Ťatůpie'': LsLsLsLsL (Tjatupian)
*''Zieřokie'': sLLsLsLsL (Zierokian)
*''Vašmie'': sLsLLsLsL (Vashmian)
*''Pahnačie'': sLsLsLLsL (Pahnachian)
*''Qyporie'': sLsLsLsLL (Iporian)


"da ga dxa nru"
===MODMOS modes===
===Functional harmony===
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).
*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


"dah,,,dih,,, gi dra da ga da di gi dra dön , " etc.
==Diatonic music==
Renaissance-esque, choral stuff?


===Styles===
Altered diatonic scales


Hlou music uses many forms familiar from European classical music: canon, fugue, sonata, ''Lied'' /liə˧˥˧/ (art song; the word comes from an archaic Hlou word ''lieg'' meaning "to express"), symphony, and concerto.
The Hlou ''Lied'' is typically accompanied with a slide guitar (''Dru'') and its vocal style is much closer to speech than the German ''Lied''.
===Notation===
Hlou music is notated on a staff. Staff notations vary from instrument to instrument.
===Ko music===
The harp (''hlar xhach'') was an important part of both folk and classical music in the classical period. But it became obsolete in the romantic period, when more complex ''Rag''s were used.
===Tlu music===
The [[Tlu]] people have a very divergent system of music, using justly tuned tetrachords (diatonic, chromatic and enharmonic). Tetrachords in Tlu are called ''λαι κοι''.
The enharmonic tetrachord, consisting of a rough third tone, quarter tone, and major third, is still in common use in Tlu music (unlike in Greek music).
Tetrachords are roughly classified as ''βωλ'' (overtonal) or ''γχαοιδ'' (undertonal).
The most common instruments in Tlu music are the lute (''ουδ'') and a bouzouki-like instrument called the ''ba yao'' (''βο ζουγ''). The ''ba yao'' has a set of strings stretched across the soundhole perpendicular to the fingerboard, used for playing melodies, as well as two or three strings that span the fingerboard, used as drone strings.
===Shum music===
[[Shum]] music has an interesting variation of the slide guitar, called a ''vi-na'' (Shum: ''vib nan''), which was invented three centuries ago by the Tumhanian designer Vhen-Ttuj Lhaa. It's a roughly ten foot long instrument played vertically, and can be bowed or plucked. The modern ''vi-na'' is electrically amplified and very minimalistic and consists of one or two strings stretched across a long metal tube (as in the Gittler guitar).
The ''vi-na'' can be played with a slide as well as in natural harmonics, which can be very high owing to the size of the instrument; some pieces use harmonics as high as the 32nd.
====Shumian musical forms====
Shumian music is based mostly on slow improvisation against a drone. The drone in Shumian music was traditionally produced by repeatingly plucking the strings of a special lute-like instrument called the ''dhaun'' and consisted of either just the tonic, or the tonic and dominant.
In modern times, the ''dhaun'' is used as a melody instrument, played with a bottleneck slide.
There is no native tradition of vocal music in Shumian culture.
===Famous composers===
*Aodh '''Bach''' - medieval Ko composer
**''Bach txuabh kein bach, so txuabh ein meer'' (Bach PST NEG small, he PST EMPH big; Bach wasn't small, he was big)
*Rene '''du Fay''' - medieval Clooa composer
*Don '''bin Chois''' - medieval Clooa composer
*Lou '''de la Croix''' - romantic Clooa composer
*Trohn '''Scheib''' - modern Hlou composer
*Hob-Bes '''Kod''' - Shumian ''vi-na'' player of Ko descent
*Ttiid-Bes '''Kod''' - Shumian composer of Ko descent, Hob-Bes's brother
==Windermere music==
The theoretical basis for Bjeheondian [[Windermere]] music is very similar to that of Hlou Romantic music, except that the terms used are different. The ''Rag'' and ''Ta'' are known as ''tsăren'' and ''hüed''. But Windermere rhythms (''imhüed'') are much more complex than Hlou ''Ta''s. ''Imhüed'' are sort of a cross between rhythmic cycles and ground bass lines (as in Baroque era passacaglias).
Singing, both choral and solo, is as much a part of Windermere music as instruments since Windermere isn't a tonal language like Hlou.
Both polyphonic and solo music follow the notes of the ''tsăren''. Solo music was very often unwritten and much of it was purely improvised, unlike polyphonic music. Solo pieces lacked a ground bass which allowed improvisers the freedom to make highly microtonally inflected melodies, often using a few dozen tones per octave.
In the Romantic era, formerly improvised pieces were written down, forming a new canon, and simultaneous improvisation was introduced. ''Tsăren''s no longer had to consist of overtone series scales; people were experimenting with much weirder combinations of notes.
Instruments typically used for harmony and polyphony, in addition to the voice, are mountain dulcimers, tubulongs, marimbas of various kinds, guitars, reed organs of various kinds, pipe organs, zithers, and steelpans. These are typically tuned to either a 26 tone 7 limit scale, or a 34 tone 11 limit scale. Flexible pitch instruments are also used, such as the violin family (borrowed from Hlou music), the musical saw, and the Crychord.
===''Tsoaf-tălea''===
Hlou influence on Windermere music in the Wieb region of Bjeheond led to the development of a uniquely Bjeheondian tradition of purely rhythmic music, called ''tsoaf-tălea'' (from Windermere ''tsoaf'' 'game, play' + ''tălea'', a translation for the Hlou ''Lei''), played almost exclusively on percussion instruments. But violin family instruments were adapted to this style; performers would strike different parts of their instruments with their fingers, and tune the strings so low that they hit against the fingerboard producing a loud percussive effect. The rhythms used were often extremely fast and complicated and polyrhythms were common.
''Tsoaf-tălea'' in the Romantic era was thought of primarily as a sport rather than a musical style, and many ''Tsoaf-tălea'' artists became cultural icons.
===Famous musicians===
Măbăsroy '''rith Săf'ey''' - improviser and composer; introduced the steelpan
Stearas '''Măftoch-Ho''' - introduced the mountain dulcimer to Wiobian music
Niwmăr '''Hăthres''' - improviser
Yachef '''rith-Fosean''' - improviser and composer
Uascadăr '''Drach''' (Shumian name ''Sah-Nlaab Dah'') - composer and instrument designer; invented many new ''tsăren''s
Dăraf '''Peł-Wănoad''' - pioneered new ideas like writing a piece in more than one ''tsăren'' at the same time
Tneal '''Wos''' - ''tsoafley'' artist
Awtan '''Harahefethșelimăleabetslofăyim''' - choral conductor
Tselthüer '''Cuad''' - singer
Yachef '''Fey''' - composer
===Folk music===
Much Windermere folk music uses instruments imported from Talma and Nūrei, such as the ''aggiakkātą'' (pasta guitar), and sometimes even uses the original tunings.
===The Experimental Music Society (''Prăctheng Sngoal Yătălisrił'')===
The ''Prăctheng Sngoal Yătălisrił'' is the Bjeheondian chapter of the ''Prycþéŋ lly Frindu Jytylisríx'' ([[Eevo]]: Society for Experimental Music).
The Bjeheondian Xenharmonic Alliance; Prăfin fab-Bălang is a member
==Pieces==
''Taab Llhaid Vib Nan'' (''Vi-na'' air) by fab Bălang
''Se Imbinrăfongteaf Yăpsat łos Ploas fe Chey'' (Xenharmonic Variations on a Theme by Scheib) by fab Bălang
[[Category:Music]]
[[Category:Music]]
[[Category:Windermere]]
[[Category:Windermere]]

Revision as of 02:55, 23 July 2021

Template:Windermere sidebar


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 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.

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 Lynkědie 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

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.

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)
  • Lannie: LsLsLLsLs (Lannian)
  • Bonžie: LsLsLsLLs (Bonzhian)
  • Ťatůpie: LsLsLsLsL (Tjatupian)
  • Zieřokie: sLLsLsLsL (Zierokian)
  • Vašmie: sLsLLsLsL (Vashmian)
  • Pahnačie: sLsLsLLsL (Pahnachian)
  • Qyporie: sLsLsLsLL (Iporian)

MODMOS modes

Functional harmony

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).

  • 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

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