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| ===Tuning=== | | ===Tuning=== |
| Shalian music is based on [http://sethares.engr.wisc.edu/paperspdf/Erlich-22.pdf decatonic scales], which are built on
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| # 7-limit tempered pentatonic scales which are commonly used to build tension, and
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| # septimal tetrads (esp. voicings of 4:5:6:7) which may be used as harmonic resolutions.
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| The scales are modes (possibly with chromatic modifications) of
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| *pentachordal: G G#v A Bv C C#v D Ev F F#v G
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| *symmetric: G G#v A Bv C C#v D Eb^ F F#v G
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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.
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| 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.
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| 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 and sometimes uses bends.
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| ====Consonance and dissonance====
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| Consonant:
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| *perfect fifth and fourth
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| *5/4 and 6/5
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| *9/8~8/7 and 7/6
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| *tritone or half-octave
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| Semi-consonant:
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| *16/15 and 10/9~11/10~12/11
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| Dissonant:
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| *9/7
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| *11/8 and 16/11
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| *1-step and 21-step intervals
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| Triads may be considered stable in some contexts but they are more often used to "modulate" rather than to stabilize.
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| Of the decatonic 1-4-7-9 tetrads, 4:5:6:7 is considered the most consonant tetrad, followed by the minor tetrad 1/(4:5:6:7), followed by other types.
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