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Old Shalian and Idosian sources describe a just intonation system based on ratios of 3 and 5, which was much like the system of 22 shrutis described in early Indian works. | Old Shalian and Idosian sources describe a just intonation system based on ratios of 3 and 5, which was much like the system of 22 shrutis described in early Indian works. | ||
When tetrachords from Hetom became popular, scholar Bów'ti Ma'kbów'tfais tried to extend the early 22-note system to make it more compatible with playing various tetrachords found in Hetomic music theory. The result was a scale of 34 notes per octave. | |||
As later Shalian music saw a move away from tetrachords and towards more harmonic, chord-based sounds, emphasizing 7-limit intervals became desirable. Thus fixed pitch instruments were tuned to 22-note well-tempered scale with good harmonic sevenths. Modern Shalian music is standardized to 22-tone equal temperament, which does not always reflect musical reality exactly, as unaccompanied Shalian polyphonic vocal music is intoned more accurately. | As later Shalian music saw a move away from tetrachords and towards more harmonic, chord-based sounds, emphasizing 7-limit intervals became desirable. Thus fixed pitch instruments were tuned to 22-note well-tempered scale with good harmonic sevenths. Modern Shalian music is standardized to 22-tone equal temperament, which does not always reflect musical reality exactly, as unaccompanied Shalian polyphonic vocal music is intoned more accurately. | ||