Verse:Tricin/Mpfa Wieb/Music: Difference between revisions

Jump to navigation Jump to search
m
Replaced the notes with ratios
m (Replaced the notes with ratios)
Line 17: Line 17:
===Tuning===
===Tuning===


Hlou musicians don't confine themselves to fixed tuning systems, except on fixed pitch instruments, which are typically tuned to JI scales based on the tonic G = 404 Hz. The note a 4/1 below that, 101 Hz, is referred to in Hlou as the ''Gab Mud'' [TODO]
Hlou musicians don't confine themselves to fixed tuning systems, except on fixed pitch instruments, which are typically tuned to JI scales based on the tonic G = 404 Hz. The note a 4/1 below that, 101 Hz, is referred to in Hlou as the ''Gab Mud''. Notes are specified as ratios from the ''Gab Mud''.


Melodies in Hlou music are inspired by the contours of speech, and follow the tones of the [[Hlou]] language.
Melodies in Hlou music are inspired by the contours of speech, and follow the tones of the [[Hlou]] language.
Line 24: Line 24:


Some common tunings in the Romantic period:
Some common tunings in the Romantic period:
*overtone scales up to the 16th harmonic on the fundamentals G 1/1, Eb 8/5, C 4/3, A 8/7 and F 16/9.
*overtone scales up to the 16th harmonic on the fundamentals 1/2, 4/9, 2/5, 1/3, and 2/7.
*overtone scales up to the 12th harmonic on the fundamentals G 1/1, Eb 8/5, C 4/3, A 8/7, Ab 16/15, F 16/9, D 32/21, Bb 32/27 (higher harmonics above these fundamentals are technically allowed; they're just not used on fixed pitch instruments)
*overtone scales up to the 12th harmonic on the fundamentals 1/2, 4/9, 2/5, 8/21, 1/3, 8/27, 2/7, and 4/15 (higher harmonics above these fundamentals are technically allowed; they're just not used on fixed pitch instruments)


When working with the second tuning, composers often work with subsets of the set of possible fundamentals (called ''Rag''); e.g. they might only work with overtone series on G, Eb, C, Bb and Ab (a ''Rag'' called ''Schwan Ton'', which is a traditional ''Rag'' for the final pieces of concerts).
When working with the second tuning, composers often work with subsets of the set of possible fundamentals (called ''Rag''); e.g. they might only work with overtone series on 1/2, 2/5, 1/3, 8/27, and 4/15 (a ''Rag'' called ''Schwan Ton'', which is a traditional ''Rag'' for the final pieces of concerts).


Other common ''Rag''s are:
Other common ''Rag''s are:


*''Flug Lieb'': overtone series on G, Ab, C, D, Eb
*''Flug Lieb'': overtone series on 1/2, 2/5, 8/21, 1/3, 4/15
*''Schloß Lieb'': overtone series on G, A, C, D, F
*''Schloß Lieb'': overtone series on 1/2, 4/9, 8/21, 1/3, 2/7
*''Rad Lieb'': overtone series on G, D, Eb
*''Rad Lieb'': overtone series on 1/2, 2/5, 8/21
*''Schein Lieb'': overtone series on Ab, Bb, C, Eb, F
*''Schein Lieb'': overtone series on 4/9, 2/5, 1/3, 8/27, 4/15
*''Schlaub'': overtone series on Ab, A, D, Eb
*''Schlaub'': overtone series on 2/5, 8/21, 2/7, 4/15


===Rhythm===
===Rhythm===

Navigation menu