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Verse:Hmøøh/Suwáábyíq/Music: Difference between revisions
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The Sowaár 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 Sowaár scales are genera (tetrachords or pentachords, i.e. divisions of the perfect fourth into three or four intervals). Innovations over the years have led to finer divisions of the perfect fourth being used in elite music. Nevertheless, steps in any genus are no smaller than about 40 cents. | The Sowaár 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 Sowaár scales are genera (tetrachords or pentachords, i.e. divisions of the perfect fourth into three or four intervals). Innovations over the years have led to finer divisions of the perfect fourth being used in elite music. Nevertheless, steps in any genus are no smaller than about 40 cents. | ||
The general term for a division of the fourth in Sowaár is ''hambaáj''. | The general term for a genus or a division of the fourth in Sowaár is ''hambaáj''. | ||
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). | ||