138,726
edits
Xaetjeon: Difference between revisions
m
→Tuning
m (→Tuning) |
|||
| Line 61: | Line 61: | ||
Sjowaazheñ music is either monophonic or homophonic. If present at all, accompaniment is sparse and consists of only one voice (in addition to percussion). | Sjowaazheñ music is either monophonic or homophonic. If present at all, accompaniment is sparse and consists of only one voice (in addition to percussion). | ||
==Tuning== | ==Tuning== | ||
The Sjowaazheñ tradition takes a purely melodic, rather than harmonic, approach to tuning, unlike the Talman and Bjeheondian traditions. Sjowaazheñ scales are traditionally based around tetrachords or pentachords which divide the perfect fourth into three or four intervals. Innovations over the years have led to finer divisions of the perfect fourth in more "sophisticated" music. The general term in Sjowaazheñ for an n-chord is ''hañbaac'' (pl. ''hañbaacin''). | The Sjowaazheñ tradition takes a purely melodic, rather than harmonic, approach to tuning, unlike the Talman and Bjeheondian traditions. Sjowaazheñ scales are traditionally based around tetrachords or pentachords which divide the perfect fourth into three or four intervals. Innovations over the years have led to finer divisions or "n-chords" of the perfect fourth in more "sophisticated" music. The general term in Sjowaazheñ for an n-chord is ''hañbaac'' (pl. ''hañbaacin''). | ||
The octave may be divided into two perfect fourths plus one whole tone. However, in monophonic music, the perfect fourths divided into ''hañbaacin'' may even be stacked on top of each other indefinitely, without regard to octave equivalence. | The octave may be divided into two perfect fourths plus one whole tone. However, in monophonic music, the perfect fourths divided into ''hañbaacin'' may even be stacked on top of each other indefinitely, without regard to octave equivalence. | ||