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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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===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. | |||
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 were commonly used in imperial Windermere music. | ===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=== | ||