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The Sjowaazheñ tradition takes a purely melodic, rather than harmonic, approach to tuning, unlike the [[Verse:Tricin/Talma/Music|Talman]] and [[Verse:Tricin/Bjeheond/Music|Bjeheondian]] traditions. Traditionally, the building blocks of Sjowaazheñ scales are tetrachords or pentachords, i.e. divisions of the perfect fourth into three or four intervals. Innovations over the years have led to finer divisions or "n-chords" of the perfect fourth being used in more "sophisticated" music. Nevertheless, steps in any n-chord are no smaller than about 50 cents. | The Sjowaazheñ tradition takes a purely melodic, rather than harmonic, approach to tuning, unlike the [[Verse:Tricin/Talma/Music|Talman]] and [[Verse:Tricin/Bjeheond/Music|Bjeheondian]] traditions. Traditionally, the building blocks of Sjowaazheñ scales are tetrachords or pentachords, i.e. divisions of the perfect fourth into three or four intervals. Innovations over the years have led to finer divisions or "n-chords" of the perfect fourth being used in more "sophisticated" music. Nevertheless, steps in any n-chord are no smaller than about 50 cents. | ||
The general term for an n-chord in Sjowaazheñ is ''hañbaác'' (pl. '' | The general term for an n-chord in Sjowaazheñ is ''hañbaác'' (pl. ''hañbaacín''). | ||
The octave may be divided into two perfect fourths plus one whole tone, to form a scale type known as '' 'aañjh''. However, in monophonic music, the perfect fourths divided into '' | The octave may be divided into two perfect fourths plus one whole tone, to form a scale type known as '' 'aañjh''. However, in monophonic music, the perfect fourths divided into ''hañbaacín'' may even be stacked on top of each other indefinitely, without regard to octave equivalence, a practice called ''shiilyohookh''. The same ''hañbaác'' or melody may be imitated a fourth above or below in this case. Or, the melody may be voiced in parallel fourths in an organum-like fashion (the only example of harmony in Sjowaazheñ music). | ||
[[Verse:Tricin/Etsoj Jopah|Etsoj Jopah]] analyzed '' | [[Verse:Tricin/Etsoj Jopah|Etsoj Jopah]] analyzed ''hañbaacín'' in terms of rational divisions of string lengths. More recently, the theorist Wañjeyi proposed representing the Sjowaazheñ musical system by dividing the octave into 58 equal parts. One of his rationales was that the perfect fourth in 58edo is 24 steps, a highly composite number. | ||
===Some '' | ===Some ''hañbaacín''=== | ||
There are some dozens of '' | There are some dozens of ''hañbaacín''. | ||
The numbers shown are approximate 58 equal temperament equivalents of step sizes. | The numbers shown are approximate 58 equal temperament equivalents of step sizes. | ||
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*''jlatoñsheh'': 3 9 7 3 | *''jlatoñsheh'': 3 9 7 3 | ||
====Larger '' | ====Larger ''hañbaacín''==== | ||
==Rhythm== | ==Rhythm== | ||