User:IlL/Spare pages 1/80: Difference between revisions

User:IlL/Spare pages 1/80 (view source)

19 bytes removed , 8 July 2019

m

no edit summary

138,759

edits

@@ Line 9: / Line 9: @@
 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.
+When tetrachords from Hetom became popular, scholar ___ 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 scales 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.