|Part of a series on|
Bjeheondian music is a monophonic tradition based on Netagin music. 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. Liturgical and folk music is usually based on scales similar to 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 nine-note scale plus which subsets to emphasize, either a set of two pezům /pɛ'zuəm/ (pentachords, lit. 'set of five'; Wdm. păsuam) or a framework based on a buri /by'ɾi/ (lit. 'sprint'; Wdm. büri), a pentatonic subset where 1\19 is not used as a step. Different styles encourage different subset use.
Some important modern hanier artists include composers Baqůr Dygieč and Qypaš Nabak and singer Stow fa Fitsmil. Some modern composers have introduced hanier counterpoint.
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. vyntag qama; Shalaian nóoslownth mamár 'mother's song'). Composed solo vocal music (Ntg. vyntag vyžol; Shalaian nóoslownth jái'ner 'exquisite singing'), to the contrary, was traditionally upper class music as opposed to folk music.
There is evidence that the Netagin at one point used a quasi-equiheptatonic system similar to our Thai music. Older musical treatises describe a 14-note system, suggesting that 7 more notes were added to the octave for extra chromatic gestures. The chromatic gestures used in melodic music developed over time resulting in the hanier system.
Talman influence eventually led the Netagin to adopt 19edo as their abstract gamut. Though the Netagin traditionally did not view the 9-note framework as a JI or tempered JI framework, later Windermere influence also shifted performance practice towards 2.3.7 JI in certain (esp. harmonic) contexts, establishing 7-limit JI notes as acceptable variations of the existing notes. Nowadays, some Netagin-speaking areas and contexts are close to following the tempered 2.3.7 interpretation (called semaphore in regular temperament theory), using different JI preimages for the same scale note depending on context. However, most contexts and regions have retained JI-agnostic intonation practices.
33edo and larger edos have also been proposed to describe the hanier system.
In theory, there are six possible pezůms, with large (≈ 3\19) and small (≈ 1\19) steps that build up a scale. One adds an additional note above the fourth, usually a perfect fifth, but sometimes a tritone.
- pezům Qykabavin: 3311
- pezům Lannin: 3131 (The modern Lannie mode of the semiquartal scale is made of two pezům Lannin.)
- pezům Qahdiebin: 3113
- pezům Zierokin: 1331 (The modern Zierokie mode begins with a pezům Zierokin.)
- pezům Vašmin: 1313 (The modern Vašmie mode is made of two pezům Vašmin.)
- pezům Nobbaxin: 1133
In practice, usually only the first five are used. The two pezůms may be disjunct (separated by a major second), or conjunct (either spanning a minor seventh above the root or the major second above the root).
A style that emphasizes pezůms is preferred for folk music.
Other pezůms which include 2\19 (about 126 cents) steps:
Buris are said to sound brighter and are preferred for ceremonial and liturgical music.
Common buris are (TODO: Netagin names):
- buri Golbin: C-D#-F-G-A#-C ("the most neutral-sounding")
- buri Čibůnin: C-D-E-G-A-C ("mellow and joyful")
- buri Qolšin: C-D-E-G-A#-C ("pompous")
- buri Pacvin: C-D#-E#-G-A#-C ("majestic")
- buri Pacvin Gatru: C-D-E#-G-A#-C ("unsettled, suspended")
- buri Qivvajin: C-D#-E#-G#-A-C ("slightly anxious and distressed")
- buri Jemačtin: C-Eb-F-G-Bb-C
- buri Zyvadin: C-Eb-F-G-A#-Cb ("exotic")
- buri Jolqin: C-D#-F#-Ab-Bb-C 0-250-550-800-1000-1200 ("disoriented")
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 hačama (sg. hačame, lit. facial expression). These are distinct from the traditional haniers.
TODO: Netagin names
L = C-D, s = C-C# (C-C half-sharp in 24edo)
- Cimmaqie: LLsLsLsLs (Tsimmaïan)
- Tavůlie: LsLLsLsLs (Tavulian)
- Lannie: LsLsLLsLs (Lannian)
- Bonžie: LsLsLsLLs (Bonzhian)
- Ťitůpie: LsLsLsLsL (Tjitupian)
- Zierokie: sLLsLsLsL (Zierokian)
- Vašmie: sLsLLsLsL (Vashmian)
- Pahnačie: sLsLsLLsL (Pahnachian)
- Qyporie: 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)
Influences on other Trician musics
The Netagin hanier system inspired Talman theorist Etsoj Jopah to invent the 7-limit diasem JI scale, one chirality of which goes LMLSLMLSL with L = 9/8, M = 28/27 and S = 64/63. This JI scale has misleadingly been called the "Netagin scale" (Wdm. păstar Intăgin, Eevo pysdár Yntyjín) by Talmans and Talmic speakers. The JI scale is a staple in low-complexity-JI- or RTT-based music in classical and modern Trician musics, scales of the same step pattern also being used in JI-agnostic contexts. The Skellan national anthem is in a Locrian-like mode of the diasem scale.