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Bjeheondian music is a monophonic tradition based on Netagin music.
Bjeheondian music often appears "microtonal" or "xenharmonic" from our modern Western perspective, though pentatonic-like scales can be used. In modern times it is usually notated based on a diatonic-based notation with accidentals for non-fifth-based notes. However, real-world intonational practices are not fixed to a particular tuning and use traditional microtonal inflections or fine-tuned intervals, and they differ by region and context. Both court and folk music use melodies based on either diatonic-like scales or the semiquartal (5L 4s MOS) scale, the nine-note scale LLSLSLSLS which is an extension of the familiar pentatonic scale. Diatonic-like melodic shapes sometimes arise as a consequence of altering the semiquartal scale.
A hanier /hɐ'nɪɾ/ (literally 'stepping'; Wdm. hănier) consists of a set of nine movable pitches plus a choice of which subset to emphasize, either a set of two pezům /pɛ'zuəm/ (pentachords, lit. 'set of five'; Nurian seałŧaļ, Wdm. păsuam) or a framework based on a buri /by'ɾi/ (lit. 'sprint'; Wdm. büri), a pentatonic subset where the small step of 5L 4s is not used as a step. Different styles encourage different subset use.
Some important modern hanier artists include composers Baqůr Dyhieć and Qypaś Nabak and singer Stow Fitsmilin. Some modern composers have introduced hanier counterpoint.
Commonly used tonics/keys are Ddb, Adb, Edb, Bdb, Fd, C, D, F, G, and Bb.
The most important instrument in Bjeheondian music is the human voice. Instruments such as ouds, Talman fiddles, qanuns, modern electronic keyboards and various percussion instruments are also used.
There is a tradition of orally transmitted folk songs (Ntg. vyntah qama; Nurian vnūsaļ mamma, both 'mother's singing'). Composed solo vocal music (Ntg. vyntah vyźol; Nurian vnūsaļ iġġīehar 'exquisite singing') was traditionally upper class music as opposed to folk music, but became an integral part of folk music, with many pieces becoming part of the hanier canon.
Haniers originally consisted of two 4/3-spanning JI pentachords, often described as 1/1 9/8 7/6 21/16 4/3 or permutations thereof.
Pitched percussion, imported from Naquian music, uses tunings close to 33edo or 19edo semiquartal.
- Ŋyplav: developed a 17 tone system that misses some pezůms, and developed ðavr's
- Mydleś: proposed various tunings mostly based on dividing string lengths; Mydleśin's scales are split into monochordal and dichordal, depending on whether the pattern has one 9/8 (i.e. meant to be played on one string) or two 9/8's (meant to be played on two strings)
- Hăjaď Săvarxal: proposed weird pezůms, esp ones that have 10/9's for 9/8's, thus getting closer to the modern quasi-33edo system.
A ŋivveź (a verbal noun of ŋavvoź 'to run (atelic)', pl. ŋivveźůl) consists of a 4- or 5-note "genus", usually spanning a perfect fourth, but also includes notes above and below in actual practice. It is analogous to ajnās in Arabic music.
- ŋivveź Zpul: 0 185 369 551
- ŋivveź Lăzep: 0 181 327 509
- ŋivveź Kmun: 0 145 327 509
- ŋivveź Mahův: 0 145 364 509
Standard semiquartal ŋivveźůl
- ŋivveź Qykabav: (sLs)LsLLs(Ls)
- ŋivveź Jeďăm: (sLs)LsLsL(Ls)
- ŋivveź Zierok: (LsL) (tonic) sLLsL (fifth) (sL)
- ŋivveź Vaśăm: (LsL)sLsLL(sL)
- ŋivveź Ćitup: ascending (LsL) (tonic) sLLsL (fifth) (sL) and descending (LsL) (tonic) sLsLL (fifth) (sL)
- ŋivveź Qypor: (sLL) (tonic) sLsLs (7/5)
- ŋivveź Panźus: 0 63 189 316 500 569 760
Neutralized semiquartal ŋivveźůl
MM = 4\33 3\33 ascending and 3\33 4\33 descending
- ŋivveź Nobbax: (sMM)LsMML(Ls)
- ŋivveź Jeťťur: (4sL)MMsLL(MM)
- ŋivveź Pertů: (s4L)sMMLL(s4)
- ŋivveź Manakvi (L4)444s(Ls)
Scales from Arabic music (in Crackfic Tricin)
- Hezem 0 218 400 509 691 909 1090 1200
- Raśt 0 218 363 509 691 909 1054 1200
- Băjeti 0 145 291 509 691 836 981 1200
- Śaba 0 145 290 400 691 800 981 1127~1200 182 290
- Śikeh 0 145 327 545 690 836 1054 1200
- Zyherkeh 0 218 400 471 690 909 982 1200
- Nikriź 0 181 292 581 691 872 982 1200
Harmony in the semiquartal scale
Semiquartal modal harmony (harmony is referred to with the neologism vynqůr '(the gestalt result of) difference [referring to different pitches sounded simultaneously]' or with the Eevo word eeclind) is a modern construct. A particular style of it pioneered by the Trician xenharmonic community Brycþéñ lly Frindu Jydylisríz has gained some popularity in the Windermere Commonwealth, and "popular hanier" has begun incorporating it. Modes of the 9-note scale are called hăćemaś (sg. hăćemeś, lit. mask). These are distinct from the traditional haniers.
- Cimmaqin: LLsLsLsLs (Tsimmaïan)
- Tavůlin: LsLLsLsLs (Thavulian)
- Jeďmin: LsLsLLsLs (Yedmian)
- Bonźin: LsLsLsLLs (Bonzhian)
- Ćiťůpin: LsLsLsLsL (Chitupian)
- Zierokin: sLLsLsLsL (Zierokian)
- Vaśmin: sLsLLsLsL (Vashmian)
- Pahnaćin: sLsLsLLsL (Pahnachian)
- Qyporin: sLsLsLsLL (Iporian)
Functional harmony is based on using 4L 1s modes and their subsets on functional degrees.
Bjeheondian rhythm is based on complex rhythmic cycles known as tălea in Windermere (from Ntg. talea, from t-l-j "to return, to cycle"), often consisting of more than 10 beats per "measure". (Steal from konnakol)