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Sjowaazheñ music is either monophonic or homophonic. Accompaniment, if present at all, is sparse and consists of only one voice (in addition to percussion). | Sjowaazheñ music is either monophonic or homophonic. Accompaniment, if present at all, 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 [[Verse:Tricin/Etalocin/Music#Talman_music|Talman]] and [[Verse:Tricin/Bjeheond/Music|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 | The Sjowaazheñ tradition takes a purely melodic, rather than harmonic, approach to tuning, unlike the [[Verse:Tricin/Etalocin/Music#Talman_music|Talman]] and [[Verse:Tricin/Bjeheond/Music|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 for an n-chord in Sjowaazheñ 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. | ||