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Created by Praimhín and Cole
Created by Praimhín and Cole
Hlou-Shum music is the longest contiguous tradition of Trician music. It is suspected that Hlou and Clofabosin music share a common root, but this is hotly debated.
Æ music is also discussed here.
==Miscellaneous ideas==
==Miscellaneous ideas==


==Hlou-Shum music==
=Hlou-Shum music=


The first orchestras ([[Hlou]]: ''Ve Rein'', literally 'musical groups') in Mpfa Schlaub were invented by ancient [[Hlou-Shum languages|Hlou-Shum]] speaking musicians. [[Verse:Tricin/Plud Schrog-Hahn|Plud Schrog-Hahn]] hypothesizes that the theorist [[Verse:Tricin/Tsăhongtămdi|Tsăhongtămdi]] was of Hlou ethnicity.
The first orchestras ([[Hlou]]: ''Ve Rein'', literally 'musical groups') in Mpfa Schlaub were invented by ancient [[Hlou-Shum languages|Hlou-Shum]] speaking musicians. [[Verse:Tricin/Plud Schrog-Hahn|Plud Schrog-Hahn]] hypothesizes that the theorist [[Verse:Tricin/Tsăhongtămdi|Tsăhongtămdi]] was of Hlou ethnicity.


A popular instrument in [[Hlou]] and [[Ko]] music is the ''Blad'' which is a curled-up long plant leaf (similar to a banana leaf) that when blown, produces a shrill, high pitched sound. Different pitches can be produced by pulling on the ''Blad''. It commonly plays in the soprano register, though modern genetic engineering alows one to make larger leaves for lower-pitched ''Blad''.
A popular instrument in [[Hlou]] and [[Ko]] music is the ''Blad'' which is a curled-up long plant leaf (similar to a banana leaf) that when blown, produces a shrill, high pitched sound. Different pitches can be produced by pulling on the ''Blad''. It commonly plays in the soprano register, though modern genetic engineering alows one to make larger leaves for lower-pitched ''Blad''.
Unfortunately, due to modern Hlou music being somewhat like a mish-mash of Talman harmony-based music and Æ melody-based music, it contains artifacts of both in ensemble works.


Other commonly used instruments are:
Other commonly used instruments are:
* the jaw harp (''Schön Ried'')
* the jaw harp (''Schön Ried'')
* the tromba marina (''Trlöb Schmie''). It is traditionally (up to the Classical period) the leader (''Ndob die in Ve Rein'', lit. orchestra's first person) of Hlou ''Ve Rein''.
** It usually plays in unison with the ''Trlöb Schmie''.
* the tromba marina (''Trlöb Schmie'')
** It is traditionally (up to the Classical period) the leader (''Ndob die in Ve Rein'', lit. orchestra's first person) of Hlou ''Ve Rein''. It provides the tuning note and guides the players in melody.
* the bowed psaltery (''Trlaub'')
* the bowed psaltery (''Trlaub'')
** It is thought to be influenced by the Clofab ''penicillin'' though this is debated. It plays melodies that the ''Trlöb Schmie'' cannot reach.
* the slide guitar (''Dru'')
* the slide guitar (''Dru'')
** This is slowly becoming obsolete due to its usage in Talma being discouraged by Naeng people.
* the overtone panflute (''Kon Txo-Ka'')
* the overtone panflute (''Kon Txo-Ka'')
** These play melodies in the high register.
* the ''cor omnitonique'' proper (''Fies Txo-Ka'')
* the ''cor omnitonique'' proper (''Fies Txo-Ka'')
* uilleann pipes (''siamh fheigh'' (Hlou ''Sieg Vein'') used in Ko music)
** This is a refinement of, the Æ ''vód'' used in Hlou ''Ve Rein''.
* rebecs (''Ntzaun'') and violins (''Ntxäd'') of various sizes
* rebecs (''Ntzaun'') and violins (''Ntxäd'') of various sizes
* and various kinds of prepared piano, guitar, and hammered dulcimer.  
** These form the main bulk of the ensemble, like in Western music, and usually play in four-part harmony similar to the one taught in our Europe, with the exception of the tuning being different.
* the piano (''Dxon Nkeg'')
** This is used more like pitched percussion, and is a common instrument to specialize in in Hlou conservatories. However, unlike our piano, the ''Dxon Nkeg'' uses first-class levers instead of a complicated hammer mechanism.
* the guitar (''Lun Schrahn'', from Æ music)
** This is used more in Hlou popular music as it provides a harmonic and rhythmic foundation when other bass instruments, like the contrabass rebec (''Ntzaun man hahn'') are absent.


Inharmonic and unpitched percussion instruments like chimes, timpani, bells, woodblocks, marimbas (especially the diamond marimba, ''Kla Drad''), and rasps are also common. Experimentalists might use the
Inharmonic and unpitched percussion instruments like chimes (''Ngien Trad''), timpani (''Bän''), bells (''Glog''), woodblocks (''Zies Rein''), marimbas (especially the diamond marimba, ''Kla Drad''), and rasps are also common.


Other common instruments are the kantele (''Zeig Pfaß'', from Liai music), the lyre (''Zeib''), and the viola organista (a Windermere invention), tuned to harmonics from 4 to 16. The modern versions of these instruments have many pedals, like a harp, for the various ''Rag''s (sets of fundamentals) used in Hlou music.
Other common (popular) instruments are the kantele (''Zeig Pfaß'', from Liai music), the lyre (''Zeib''), and the viola organista (a Windermere invention), tuned to harmonics from 4 to 16. The modern versions of these instruments have many pedals, like a harp, for the various ''Rag''s (sets of fundamentals) used in Hlou music.


===Tuning===
===Tuning===
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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''.
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 [[Schlaub]] language.


Later Hlou music uses tunings that consist of many overtone scales on different fundamentals; often the fundamentals themselves form an overtone or undertone series, in the latter case producing a Partchian "tonality diamond" structure, coincidentally very similar to classical Gweats dynasty courtly music.
Later Hlou music uses tunings that consist of many overtone scales on different fundamentals; often the fundamentals themselves form an overtone or undertone series, in the latter case producing a Partchian "tonality diamond" structure, coincidentally very similar to classical Gweats dynasty courtly music.
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*'''[[Verse:Tricin/Ve Rein Schnas vög in Wien|Ve Rein Schnas vög in Wien]]''' - the Trician counterpart to our world's Vienna Philharmonic
*'''[[Verse:Tricin/Ve Rein Schnas vög in Wien|Ve Rein Schnas vög in Wien]]''' - the Trician counterpart to our world's Vienna Philharmonic


==Pieces==
===Pieces===
 
=Æ music=
 
'''Traditional Æ music''' is comprised of various styles.
== Modes ==
Traditional Æ music is entirely based on the following nine seven-note modes found in harmonics 8-16 (the complete list of 7-note subsets that are constant structure and have a 3/2 on the tonic). These were formalized by theorist Rå̃v Ngúm Sæ̊m in year 2046 in the Trician calendar, and the nine modes are referred to as ''rụ̊r vọj Rå̃v'' 'the Rå̃v modes' (note: Æ people are referred to by their given names).
# ''vọj Bæ̀v'': 8:9:10:11:12:13:14:16
#* This ''vọj'' is used in a meditative mood as it is also the simplest to describe mathematically.
# ''vọj Hủd'': 8:9:10:11:12:13:15:16
#* This is canonically called the happiest ''vọj'' because of its "leading tone" and is frequently used in dance pieces. Due to its association with lighthearted dance, it is not usually included in longer works.
# ''vọj Rů̃'':  8:9:10:11:12:14:15:16
#* This mode only exists in theory and is only used in post-Rå̃v Ngúm Sæ̊m works.
# ''vọj Var Njị'': 10:11:12:13:15:16:18:20
#* This ''vọj'' symbolizes sadness, fear, or distress, like the similar Maqam Saba.
# ''vọj Kyn'': 10:11:12:14:15:16:18:20
#* This ''vọj'' symbolizes a melancholy but uplifting mood at the same time.
# ''vọj Gjám'': 10:11:13:14:15:16:18:20
#* This ''vọj'' expresses anger, and due to the sociopolitical context of Æ folk music, said anger is often directed at the upper classes.
# ''vọj Jav Læ{{cdb}}q'': 12:13:14:16:18:20:22:24
#* This ''vọj'' is said to symbolise fullness or serenity.
# ''vọj Hír Må̉r'': 12:13:15:16:18:20:22:24
#* This ''vọj'' is also termed happy like ''vọj Hủd'', but it is a more selfless happiness.
# ''vọj Mèd'': 12:14:15:16:18:20:22:24
#* This mode only exists in theory and is only used in post-Rå̃v Ngúm Sæ̊m works.
 
Unlike Hlou-Shum speakers, the Æ do not have speech-tone music.
 
The fundamental pitch, ''dó'' (commonly called pitch class 8, see the section on notation), is usually taken to have a value of 2²² vibrations per day (approximately 48.55 Hz) in scientific communities, though traditional Æ ensembles usually have a movable ''dó''. There is usually only one traditional tonic for each mode:
* for the first group, ''Bæ̀v, Hủd'' and ''Rů̃'' the tonic is pitch class 8
* for the second group, ''Var Njị, Kyn'' and ''Gjám'' the tonic is pitch class 10
* for the third group, ''Jav Læ{{cdb}}q, Hír Må̉r'' and ''Mèd'' the tonic is pitch class 12
The octave in Æ music plays a central role as the interval of equivalence, so this document will use the English term "octave" for lack of a Æ term that is universally agreed upon by Æ musicians. This means that there are only eight pitch classes in traditional Æ music.
 
Sometimes pieces modulate from any mode from the first group to the third group, and vice versa.
 
== Instruments ==
* ''æ̉m'': the vertical flute
** The lowest pitch of this instrument's traditional size is 8³ and it is an eight-holed instrument, one for each of the eight pitches, with the top note of the lowest register being identical to the lowest note in the next highest register.
* ''vód'': the natural horn
** The fundamental pitch is usually 8⁰, though there have been smaller models of horn that are straight and have a fundamental pitch an octave higher, and some models of modern ''vód'', most notably the ''Bládq'' company model have a pitch one octave lower than the traditional ''vód'', used for lower melodies.
* ''bæ{{ring}}{{cdb}}m'': the bass drum
** This bass drum is usually square and single-headed. The skin is not fastened to the body of the bass drum, instead they are usually tied with rope. In modern pieces it is tuned to the tonic of the mode.
* ''ỏr'': the monochord
** This is usually tuned to 8⁰, with the two main methods of playing the instrument being plucking while pressing the strings or lightly touching them to produce harmonics.
* ''slů{{grave}}'': the erhu
** This is usually tuned to 8² 12². It is played vertically, and it has a small circular body and a long neck.
* ''hjø{{acute}}r sã'': the crychord
** This instrument is descended from the musical bow. The range it has is 8⁰ to about 10². Despite its narrow range it works well as a bass all-purpose instrument, and unlike Partch's crychord, it is hammered.
* ''lum jáq'': the guitar
** This is usually tuned to 8¹ 12¹ 8² 12². This is played in the exact same manner as the Chinese ''ruan'' but it has a rectangular body. When the ''væ{{tilde}}'' and ''bæ{{ring}}{{cdb}}m'' are absent this instrument plays a harmonic and rhythmic foundation.
* ''væ{{tilde}}'': shruti box
** This replaced an organ-like instrument, also formerly called the ''væ{{tilde}}'', which was used to provide drones. It has one reed for each of the eight pitch classes in two octaves, giving 16 reeds.
 
==Notation==
 
The numbers 8 to 15 are used on a line, indicating the harmonic scale 8:9:10:11:12:13:14:15, with superscript numbers to indicate how many octaves above ''dó'' the note is played. Here are the 40 notes in the traditional gamut of Æ music.
8⁰ is the notation for the lowest ''dó''.
 
8⁰ 9⁰ 10⁰ 11⁰ 12⁰ 13⁰ 14⁰ 15⁰
8¹ 9¹ 10¹ 11¹ 12¹ 13¹ 14¹ 15¹
8² 9² 10² 11² 12² 13² 14² 15²
8³ 9³ 10³ 11³ 12³ 13³ 14³ 15³
8⁴ 9⁴ 10⁴ 11⁴ 12⁴ 13⁴ 14⁴ 15⁴
The unit of time is the beat and usually no music uses any units of time smaller than the beat. Lengthenings are written using dashes. Hence rhythm is highly additive.
 
The ''bæ{{ring}}{{cdb}}m'' does not get its own staff, instead the beats are marked with slashes over the other instrumental parts. Some modern composers, like Fryd Gla{{cdb}}nq Sæ{{ring}}, instead use the ''bæ{{ring}}{{cdb}}m'' as a pitched percussion instrument, using a set of three ''bæ{{ring}}{{cdb}}m'' tuned to 8⁰, 10⁰, and 12⁰.
 
== Ensembles ==
 
All ensembles (commonly called ''ke{{cdb}}dq'') must contain a ''væ{{tilde}}'', and a ''bæ{{ring}}{{cdb}}m'' as the tonal and rhythmic base respectively for the entire ensemble, with the exception of small ensembles in which case a ''lum jáq'' can be used for the tonal and rhythmic foundation at the same time.
 
A typical Æ traditional ensemble, the ''ke{{cdb}}dq slă{{grave}}n gro{{tilde}}d'' consists of ''væ{{tilde}}'', ''bæ{{ring}}{{cdb}}m'', ''vód'', ''ỏr'', ''æ̉m'', ''hjø{{acute}}r sã'', and ''slů{{grave}}''.
 
{| class="wikitable"
! Instrument !! Traditional function
|+ Functions of each of the instruments in the ''ke{{cdb}}dq slă{{grave}}n gro{{tilde}}d''
|-
| ''væ{{tilde}}'' || Tonal foundation, provides drones
|-
| ''bæ{{ring}}{{cdb}}m'' || Rhythmic foundation
|-
| ''vód'' || Provides unembellished melodies in the middle-to-high register
|-
| ''ỏr'' || Provides a more fluid tonal foundation, acts as a kind of low/middle-register melody instrument
|-
| ''æ̉m'' || Provides embellished melodies in the high register, sometimes doubles the ''vód''
|-
| ''hjø{{acute}}r sã''|| Doubles the ''ỏr'' and sometimes plays rhythms in conjunction with the ''bæ{{ring}}{{cdb}}m'' to provide a bassline.
|-
| ''slů{{grave}}'' || Provides embellished melodies in the middle-to-high register, doubles the ''vód'' heterophonically, and acts as a melody instrument if the ''vód'' is not playing
|}
 
==Styles and forms==
 
The most common folk style is a monophonic melody over a drone on 1/1 and 3/2 of the tonic of the mode. It is mostly rhythmic but with complex changing meter. Usually this is played by the ''væ{{tilde}}'', ''bæ{{ring}}{{cdb}}m'', and a melody instrument, usually ''slů̀'', ''æ̉m'', or ''vód''.
 
A number of Æ dances are listed below in the context of the ''slă{{grave}}n gro{{tilde}}d'' (dance cycle).
 
=== ''slă{{grave}}n gro{{tilde}}d'' (dance cycle) ===
The dance cycle form (''slă{{grave}}n gro{{tilde}}d'') is the longest of all Æ traditional musical forms. The traditional order of the sections is so:
* The main rhythm of each dance is played by the ''bæ{{ring}}{{cdb}}m''. Most of the time the rhythms are not specified by slashes over the score and the ''bæ{{ring}}{{cdb}}m'' player is expected to know them by heart.
* The beginning is in ''vọj Bæ̀v'' and is an arythmic improvisation, usually by the ''slů̀'' or ''æ̉m'', or both, in imitation.
* The next section is a medium-tempo (about 3 beats per second) dance in 16 called ''gro{{tilde}}d Njrå̉v'' in ''vọj Jav Læ{{cdb}}q''. Its main rhythm is:
\ . . \ . . \ . . \ . . \ . \ .
* The next section is a slower dance (about 2.5 beats per second) in 14 called ''gro{{tilde}}d Fo{{acute}}vq'' in ''vọj Kyn''. Its main rhythm is:
\ . . \ . . \ . . \ . . \ .
* The next section is a slow dance (about 2 beats per second) in 10 called ''gro{{tilde}}d Sle Fa{{cdb}}jq'' in ''vọj Gjám''. Its main rhythm is:
\ . \ . \ . \ . \ \
* The final section is a slow dance, played at the same tempo as the ''gro{{tilde}}d Sle Fa{{cdb}}jq'', in 16, called the ''gro{{tilde}}d Ů{{acute}}q'' in ''vọj Hír Må̉r''. Its main rhythm is:
\ . . . \ . . . \ . . \ \ . \ .
 
== Example folk pieces ==
=== ''Æ{{ring}}{{acute}}q Rin Jav'' ===
 
(Out-universe note: This is a paraphrased transcription of the Earth folk song "Eirik Jarl" into ''vọj Jav Læ{{cdb}}q''.)
 
This is in a fast dance, usually called ''gro{{tilde}}d Drŭv'', with a meter of 16 (same rhythm as the ''gro{{tilde}}d Ů{{acute}}q'' but faster), and it has a pace of 4 beats per second. It is written in ''vọj Jav Læ{{cdb}}q''. Some scholars and musicians deny this and say that the mode is ''vọj Hủd'' due to the repetition of the pitch class 8.
 
12² | 12²  8³  8³  9³ 10³ -  9³  8³ 12²  8³  8³ 15²  8³ -  .  12² | 12²  8³  8³  9³ 10³ -  9³  8³ 12²  8³  8³ 15²  8³ -  .  .
    | 12³ 12³ 12³ 10³ 11³ -  11³  9³ 10² 10³ 10³  8³ 13² -  .  .  | 12²  8³  8³  9³ 10³ -  9³  8³ 12²  8³  8³ 15²  8³ -  .  .
    | 12³ 12³ 12³ 10³ 11³ -  11³  9³ 10² 10³ 10³  8³ 13² -  .  13² | 12²  8³  8³  9³ 10³ -  9³  8³ 12²  8³  8³ 15²  8³ -  .
 
=== ''Iq Gy{{acute}}v Li{{tilde}}m Ngi{{cdb}}'' ===
 
(Out-universe note: This is a paraphrased transcription of the Earth folk song "Igilimni, khoomeimni" into ''vọj Bæ̀v''.)
 
This is not meant to accompany any dance and is the signature piece of the Æ National Orchestra (Æ: ''Ke{{cdb}}dq Hŭ̉n Æ''). The pace is about 4.25 to 4.5 beats per second, and the main rhythm, known as ''gro{{tilde}}d Hjæ̊{{grave}}d'' (though this name is misleading). The main rhythm of this is:
 
\ . . . . . \ . . . . . \ . . .
 
The melody of the piece itself (bracketed notes are not for the main melody by the ''vód'' but are played by other instrumental parts, notably ''slů̀''):
 
Intro (without ''vód'')
|  8³ -  14²  8³  9³ 10³  8³ -  -  -  -  -  (14²  8³ 14²  8³)|  8³ -  14²  8³  9³ 10³  8³ -  -  -  -  -  (14²  8³ 14²  8³)
|  8³ -  14²  8³  9³ 10³  8³ -  -  -  -  -  (14²  8³ 14²  8³)|  8³ -  14²  8³  9³ 10³  8³ -  -  -  -  -  (14²  8³ 14²  8³)
A1 section
|  8³ -  14²  8³  9³ 10³  8³ -  -  -  -  -  (14²  8³ 14² -  )|  8³ -  14²  8³  9³ 10³  9³ -  -  -  -  -  (14²  8³ 14² -  )
|  9³ -  11² 12³  9³ 10³  9³ -  -  -  -  -  (14²  8³ 14² -  )|  9³ -  14²  8³  9³ 10³  8³ -  -  -  -  -  (14²  8³ 14² -  )
Transition 1 (without ''vód'')
|  8³ -  14²  8³  9³ 10³  8³ -  -  -  (8³  9³ 14²  8³ 14² 12²)|  8³ -  14²  8³  9³ 10³  8³ -  -  -  (8³  9³ 14²  8³ 14² 12²)
|  8³ -  14²  8³  9³ 10³  8³ -  -  -  (8³  9³ 14²  8³ 14² 12²)|  8³ -  14²  8³  9³ 10³  8³ -  -  -  (8³  9³ 14²  8³ 14² 12²)
A2 section
|  8³ -  14²  8³  9³ 10³  8³ -  -  -  (8³  9³ 14²  8³ 14² 12²)|  8³ -  14²  8³  9³ 10³  9³ -  -  -  (8³  9³ 14²  8³ 14² 12²)
|  9³ -  11² 12³  9³ 10³  9³ -  -  -  (8³  9³ 14²  8³ 14² 12²)|  9³ -  14²  8³  9³ 10³  8³ -  -  -  (8³  9³ 14²  8³ 14² 12²)
Transition 2 (without ''vód'')
| 14²  8³  9³ -  -  -  12³ -  10³ 12³  9³ 10³  8³  9³ 14² -  | 12² 14²  8³ -  -  -    9³ -    8³ -    9³ -  14² -  -  -
| 14²  8³  9³ -  -  -  12³ -  10³ 12³  9³ 10³  8³  9³ 14² -  | 12² 14²  8³ -  -  -    9³ -    8³  9³ 14² -    8³ -  -  -
 
The sequence usually played is I-A1-T1-A2-(second line of A2)-T2-T2-A2-A2-(second line of A2)-(4-cycle improvisation for ''slů̀'', ''æ̉m'', and ''ỏr'')-(second line of A2)-(second line of A2).
 


[[Category:Music]]
[[Category:Music]]
[[Category:Tricin]]
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