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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, Shalian scholar Bów'ti | When tetrachords from Hetom became popular, Shalian scholar Bów'ti Asínsim ("Bów'ti the Swuntsim") 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 Shalian music embraced vocal polyphony it saw a move away from tetrachords and towards more harmonic, chord-based sounds. Emphasizing JI ratios of 7 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. | As Shalian music embraced vocal polyphony it saw a move away from tetrachords and towards more harmonic, chord-based sounds. Emphasizing JI ratios of 7 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. | ||