138,726
edits
Verse:Hmøøh/Talma/Music: Difference between revisions
m
no edit summary
mNo edit summary Tags: Mobile edit Mobile web edit |
mNo edit summary Tags: Mobile edit Mobile web edit |
||
| Line 34: | Line 34: | ||
===Early Gweats court music=== | ===Early Gweats court music=== | ||
The earliest surviving Gweats court music continues the early tradition of overtone scales based on one fundamental. The scales were based on overtones 5-10, overtones 6-12 or overtones 7-14, depending on the status of the client. But the scales often had other notes added to give more interesting melodies. Rhythmic devices such as syncopation and polyrhythms were also used. | |||
Imperial Windermere composer Tsăhongtamdi's treatise [[Literature:Elements of Harmony|''Elements of Harmony'']] (CWdm ''Yămyămał clisăyfäl'') describes just intonation ratios and the process of playing them on strings. Tsăhongtamdi describes Partchian tonality diamonds and similar scales as extensions of overtone scales over a single fundamental which was the staple in music at that time, to multiple related fundamentals. | Imperial Windermere composer Tsăhongtamdi's treatise [[Literature:Elements of Harmony|''Elements of Harmony'']] (CWdm ''Yămyămał clisăyfäl'') describes just intonation ratios and the process of playing them on strings. Tsăhongtamdi describes Partchian tonality diamonds and similar scales as extensions of overtone scales over a single fundamental which was the staple in music at that time, to multiple related fundamentals. | ||