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The Sjowaázh 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 Sjowaázh 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 Sjowaázh 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 Sjowaázh 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 Sjowaázh is '' | The general term for an n-chord in Sjowaázh is ''hañbaáj'' (pl. ''hañbaajín''). | ||
The octave may be divided into two perfect fourths plus one whole tone, to form a scale type known as '' 'áañjh''. 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 '' 'áañjh''. However, in monophonic music, the perfect fourths divided into ''hañbaajín'' may even be stacked on top of each other indefinitely, without regard to octave equivalence, a practice called ''shiilyohóokh''. The same ''hañbaáj'' 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 Sjowaázh music). | ||
[[Verse:Tricin/Etsoj Jopah|Etsoj Jopah]] analyzed '' | [[Verse:Tricin/Etsoj Jopah|Etsoj Jopah]] analyzed ''hañbaajín'' in terms of rational divisions of string lengths. More recently, the theorist Woñjéyi proposed representing the Sjowaázh 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 ''hañbaajín''=== | ||
There are some hundreds of '' | There are some hundreds of ''hañbaajín''. | ||
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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*''jlatóñsheh'': 3 9 7 3 | *''jlatóñsheh'': 3 9 7 3 | ||
====Larger '' | ====Larger ''hañbaajín''==== | ||
==Rhythm== | ==Rhythm== | ||
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==Styles== | ==Styles== | ||
==Notation== | ==Notation== | ||
Much of Sjowaázh music was traditionally improvised. Sjowaázh notation works a little like unheightened neumes: it marks rhythm and rough melodic contours. The '' | Much of Sjowaázh music was traditionally improvised. Sjowaázh notation works a little like unheightened neumes: it marks rhythm and rough melodic contours. The ''hañbaáj'' to be used is also indicated. Much is left to the discretion of the performer, however. | ||
In modern times, modern Talman staff notation (assuming a 58edo or 87edo framework) may be used, although this is often deemed less than satisfactory for Sjowaázh music. | In modern times, modern Talman staff notation (assuming a 58edo or 87edo framework) may be used, although this is often deemed less than satisfactory for Sjowaázh music. | ||