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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 ''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 | [[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''==== | ||
There are some hundreds of ''hambaáj''. | There are some hundreds of ''hambaáj''. | ||
The numbers shown are approximate | The numbers shown are approximate 58 equal temperament equivalents of step sizes. | ||
=====Tetrachords===== | =====Tetrachords===== | ||
Tetrachords used in elite music prefer to keep very large steps in the middle. | Tetrachords used in elite music prefer to keep very large steps in the middle. | ||
*''esyóoñ'': | *''beeky'ógh 'áad'': 11 10 3 | ||
*''naajyetóh'': | *''beeky'ógh jyek'': 10 11 3 | ||
*''bajíñd'': | *''esyóoñ'': 10 10 4 | ||
*''slót'an'': | *''cyáañ'': 9 8 7 (approximately 9:10:11:12) | ||
*''ohkásdiñ'': 2 | *''naajyetóh'': 8 8 8 (similar to the equable diatonic genus) | ||
*''moc'aásh'': 2 | *''see'cyáañ'': 7 8 9 | ||
*''bajíñd'': 7 7 10 | |||
*''slót'an'': 6 6 12 | |||
*''ohkásdiñ'': 3 19 2 | |||
*''moc'aásh'': 2 11 11 | |||
=====Pentachords===== | =====Pentachords===== | ||
*''jook'etóh'': | *''jook'etóh'': 6 6 6 6 | ||
*''jhatóñhesh'': | *''yiilyí'': 7 6 5 6 | ||
*''see'yiilyí'': 6 5 6 7 | |||
*''jhatóñhesh'': 3 9 7 3 | |||
=====Larger ''hambaáj''===== | =====Larger ''hambaáj''===== | ||