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Avian music tends to emphasize harmony, rhythm and timbre much more than melody, which most in-universe sapient passerines consider a part of language instead. Much of avian music is based on chord-scale theory. In songs, the melody is considered part of the lyrics and the melodies follow the chord-scale the music is currently in (most passerine languages in Méich Bhaonnáiqh are tonal and some even require producing two notes at once). Both harmonic and inharmonic timbres may be used. | Avian music tends to emphasize harmony, rhythm and timbre much more than melody, which most in-universe sapient passerines consider a part of language instead. Much of avian music is based on chord-scale theory. In songs, the melody is considered part of the lyrics and the melodies follow the chord-scale the music is currently in (most passerine languages in Méich Bhaonnáiqh are tonal and some even require producing two notes at once). Both harmonic and inharmonic timbres may be used. | ||
In Méich Bhaonnáiqh, primodality is invented by a bird uplift; birds use primodality to impart colors to chord-scales and sung dyad phonemes. There is also a bird culture that uses soundscapes made by non-ji/inharmonic/pseudo-JI chords. | * Most early recorded bird musical traditions are overtone singing and other timbral singing traditions demanding the various timbral nuances the avian syrinx is capable of. | ||
* Primodality: In Méich Bhaonnáiqh, primodality is invented by a bird uplift; birds use primodality to impart colors to chord-scales and sung dyad phonemes. | |||
* There is also a bird culture that uses soundscapes made by non-ji/inharmonic/pseudo-JI chords. | |||