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:''The Talman just intonation tunings and scales are due to Praimhín.'' | :''The Talman just intonation tunings and scales are due to Praimhín.'' | ||
'''Talman music''' | '''Talman music''' is the longest continuous tradition of just intonation music in Tricin, and [[Verse:Tricin/Bjeheond/Music|Bjeheondian music]], and other Trician JI traditions such as [[Verse:Tricin/Fyxoom/Music|Fyxoomian music]] have Talman influences. Intervals are viewed as rational frequency ratios or approximations thereof, which have not only factors of 2, 3 and 5, but also 7, 11, 13 and higher primes which may not be well-represented in Western European music. In contrast, modern Talman music may use various non-just intonation scales, inspired by other Trician musical traditions. | ||
Talmans traditionally preferred smaller ensembles; larger orchestras are a Classical and Romantic development. | Talmans traditionally preferred smaller ensembles; larger orchestras are a Classical and Romantic development. | ||
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*81/80 (syntonic comma) ≈ 21.4661145576 vri | *81/80 (syntonic comma) ≈ 21.4661145576 vri | ||
Standard pitch: G = 392.43834795 Hz ( | Standard pitch: G = 392.43834795 Hz (standard middle C * 9/8 = 1 / (1/5040^2 of 1 Trician day); 380 Hz is used as "baroque pitch" | ||
==History== | ==History== | ||
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===Origins=== | ===Origins=== | ||
The earliest recorded Talman musical tradition was based on throat-singing. Primes higher than 5 came from | The earliest recorded Talman musical tradition was based on throat-singing. Primes higher than 5 came from a tradition of throat singing where, according to contemporary sources, having a deep voice and the ability to throat-sing higher harmonics clearly was seen as a mark of masculinity. | ||
===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 had other notes added (such as 21/16) to allow more interesting melodies. Rhythmic devices such as syncopation and polyrhythms were also used. | |||
===Classical Gweats music=== | |||
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. | |||
Tsăhongtamdi's most influential recommendation was against using fixed-pitch instruments; he argued that they were expressively limited. This recommendation was lasting in influence - most instruments used in traditional Talman music are flexible-pitch instruments. Since Mărotłism banned the killing of mammals but not of fish, fish glue and hoof glue could be used for repairs instead of hide glue. Hence viola organistas and harpsichords tuned to tonality diamond scales were commonly used in imperial Windermere music. | |||
===Monastic music=== | ===Monastic music=== | ||
Medieval Mărotlian monastic chanting used much simpler scales than court music: | |||
*Overtone scales: overtones 5 to 10, | *Overtone scales: modes of overtones 5 to 10 (E G Bb C D E), 6 to 12 (G Bb C D E F), or 7 to 14. May be sung over a drone. | ||
*Undertone scales: undertones 5 to 10 | *Undertone scales: modes undertones 5 to 10 or 6 to 12. | ||
*Hexanies: usually | *Hexanies: usually | ||
** 1 3 5 9: modes of 1/1 9/8 5/4 3/2 5/3 15/8 2/1 (C D E G A B C) | ** 1 3 5 9: modes of 1/1 9/8 5/4 3/2 5/3 15/8 2/1 (C D E G A B C) | ||
** 1 3 7 9: modes of 1/1 9/8 7/6 21/16 3/2 7/4 2/1 (C D Eb F G Bb C) | ** 1 3 7 9: modes of 1/1 9/8 7/6 21/16 3/2 7/4 2/1 (C D Eb F G Bb C) | ||
===Folk music=== | |||
The JI scales used in Talman folk music are less systematic than in classical music, but they aren't always based over a single fundamental. Some modulation, or changing of the bass note or "key" is used. | |||
===''Săφnga cămχüüm''=== | ===''Săφnga cămχüüm''=== | ||
During the later Gweats era, there was a musical movement called ''săφnga cămχüüm'' ('subtly flowing art'), which explored minimalism and complex expressive beating and dissonance, reminiscent of La Monte Young. Such | During the later Gweats era, there was a musical movement called ''săφnga cămχüüm'' ('subtly flowing art'), which explored minimalism and complex expressive beating and dissonance, reminiscent of La Monte Young. Such music was most often written for organs, viola organistas and harpsichords with just 10-15 notes per octave. | ||
===Early Fnüeng court music=== | ===Early Fnüeng court music=== | ||
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===Classical period=== | ===Classical period=== | ||
After the Jeodganite Revolution which led to the collapse of the Fnüeng Dynasty, some Ngronaist sects such as | After the Jeodganite Revolution which led to the collapse of the Fnüeng Dynasty, some Ngronaist sects such as Hyvahism required strict vegetarianism (thus fish glue was not allowed), thus banning certain fixed pitch instruments like viola organistas and harpsichords. Composers started to use effectively free JI, with more modulation, with each scale playing a role like the tonic. | ||
Nationalism was a strong influence during the Classical period - many Talman national anthems were written during the classical period. | Nationalism was a strong influence during the Classical period - many Talman national anthems were written during the classical period. | ||
===Romantic period=== | ===Romantic period=== | ||
The Romantic period was the longest period of Talman classical music. 41edo (the smallest equal temperament to represent the 15-odd limit) began to be established for organs. | The Romantic period was the longest period of Talman classical music. 41edo (the smallest equal temperament to represent the 15-odd limit) began to be established for organs and other fixed-pitch instruments. | ||
====Early==== | ====Early==== | ||
Romantic composers emphasized emotion, humor, exuberance and contemplation. Romantic music often had an individualist ethos, which prompted the development of solo techniques. Early Romantic period composers used a free JI approach with microtempering, only sometimes flirting with more tempered scales. However, the use of equal temperaments were spurred on by the theorist Bloisin and the invention of the isomorphic keyboard in the later Romantic period. | Romantic composers emphasized emotion, humor, exuberance and contemplation. Romantic music often had an individualist ethos, which prompted the development of solo techniques. Early Romantic period composers used a free JI approach with microtempering, only sometimes flirting with more tempered scales. However, the use of equal temperaments were spurred on by the theorist Bloisin and the invention of the isomorphic keyboard in the later Romantic period. | ||
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===Modern period=== | ===Modern period=== | ||
Modern composers often work with a variety of equal temperaments and rank-2 temperaments. Some favorite equal temperaments are 5, 7, 9, 10, 11, 12, 13, 14, 15, 16, 17, 19, 22, 26, 27, 31, 41, 46, 53, 58, 72, | ====Temperaments==== | ||
Modern composers often work with a variety of equal temperaments and rank-2 temperaments. Some favorite equal temperaments are 5, 7, 9, 10, 11, 12, 13, 14, 15, 16, 17, 19, 22, 26, 27, 31, 41, 46, 53, 58, 72, 94 - but many other equal temperaments are used, including nonoctave scales (like the Bohlen-Pierce scale). | |||
====Just intonation==== | |||
New technology as well as the Bjeheondian ''vi-na'' allowed exploration of higher harmonics from 16-32 and yet higher. | |||
===Neoclassicism=== | ===Neoclassicism=== | ||
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===Vegetarian and vegan instruments=== | ===Vegetarian and vegan instruments=== | ||
Since vegetarians, and more recently vegans, were and are important constituents of Talman societies, many composers allowed vegetarian and vegan substitutions for nonveg(etari)an instruments. Often, non-veg(etari)an instruments were considered interchangeable with their veg(etari)an counterparts, and veg(etari)an composers refused to use nonveg(etari)an instruments at all. This shifted the balance against larger wooden fixed-pitch instruments such as the viola organista, which required animal glue to manufacture and repair | Since vegetarians, and more recently vegans, were and are important constituents of Talman societies, many composers allowed vegetarian and vegan substitutions for nonveg(etari)an instruments. Often, non-veg(etari)an instruments were considered interchangeable with their veg(etari)an counterparts, and veg(etari)an composers refused to use nonveg(etari)an instruments at all. This shifted the balance against larger wooden fixed-pitch instruments such as the viola organista, which required animal glue to manufacture and repair. | ||
Some common historical substitutions: | Some common historical substitutions: | ||
*Rosined sticks for horsehair bows. | *Rosined sticks for horsehair bows. | ||
*Electric fiddles for acoustic fiddles. | *Electric fiddles for acoustic fiddles. | ||
*Organs for viola organistas. | *Organs for harpsichords, pianos and viola organistas. | ||
Since the invention of cell-cultured gelatin in Fyxoom, vegetarian substitutions are no longer required for instruments that require gluing. | Since the invention of cell-cultured gelatin and collagen in Fyxoom, vegetarian substitutions are no longer required for instruments that require gluing. | ||
==Melody== | ==Melody== | ||
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===Staff directions=== | ===Staff directions=== | ||
Usually in Windermere, but not always. | Usually in Modern Windermere, but not always. | ||
*''glep'' (Wdm. 'broad') = largo | *''glep'' (Wdm. 'broad') = largo | ||
*''pdeas'' (Wdm. 'slow') = lento | *''pdeas'' (Wdm. 'slow') = lento | ||