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Verse:Hmøøh/Suwáábyíq/Music: Difference between revisions
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The octave may be divided into two perfect fourths plus one whole tone, to form a scale type known as '' 'áañjh''. The perfect fourths divided into ''hañbaaj'' may also be stacked on top of each other indefinitely, without regard to octave equivalence, a practice called ''shiilyohóokhin''. The same ''hambaáj'' 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 Sowaár music). | The octave may be divided into two perfect fourths plus one whole tone, to form a scale type known as '' 'áañjh''. The perfect fourths divided into ''hañbaaj'' may also be stacked on top of each other indefinitely, without regard to octave equivalence, a practice called ''shiilyohóokhin''. The same ''hambaáj'' 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 Sowaár music). | ||
[[Verse:Tricin/Etsoj Jopah|Etsoj Jopah]] analyzed '' | [[Verse:Tricin/Etsoj Jopah|Etsoj Jopah]] analyzed ''hambaáj'' in terms of rational divisions of string lengths. More recently, the theorist Woñjéyi proposed representing the Sowaár 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 ''hambaáj''==== | ====Some ''hambaáj''==== | ||