Verse:Mwail/Kawenyen - Revision history

IlL: IlL moved page Verse:Angai/Kawenyen to Verse:Mwail/Kawenyen without leaving a redirect

2025-06-24T00:36:35Z

IlL moved page Verse:Angai/Kawenyen to Verse:Mwail/Kawenyen without leaving a redirect

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IlL: Blanked the page

2025-06-08T04:39:22Z

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	~~#redirect [[Verse:Angai/Bjeheond/Music]]~~

IlL: IlL moved page Verse:Angai/Netagin/Music to Verse:Angai/Kawenyen without leaving a redirect

2025-06-08T04:39:10Z

IlL moved page Verse:Angai/Netagin/Music to Verse:Angai/Kawenyen without leaving a redirect

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IlL: IlL moved page Netagin/Music to Verse:Angai/Netagin/Music without leaving a redirect

2025-06-08T03:49:49Z

IlL moved page Netagin/Music to Verse:Angai/Netagin/Music without leaving a redirect

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Учхљёная: Changed redirect target from Verse:Hmøøh/Tumhan/Music to Verse:Angai/Bjeheond/Music

2025-03-23T08:16:02Z

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	#redirect [[Verse:~~Hmøøh~~/~~Tumhan~~/Music]]		#redirect [[Verse:Angai/Bjeheond/Music]]

Учхљёная: Changed redirect target from Verse:Hmøøh/Bjeheond/Music to Verse:Hmøøh/Tumhan/Music

2025-03-16T05:46:24Z

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	#redirect [[Verse:Hmøøh/~~Bjeheond~~/Music]]		#redirect [[Verse:Hmøøh/Tumhan/Music]]

IlL: Changed redirect target from Verse:Tricin/Bjeheond/Music to Verse:Hmøøh/Bjeheond/Music

2023-05-01T02:00:54Z

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	#redirect [[Verse:~~Tricin~~/Bjeheond/Music]]		#redirect [[Verse:Hmøøh/Bjeheond/Music]]

IlL: Changed redirect target from Bjeheond/Music to Verse:Tricin/Bjeheond/Music

2021-07-23T02:54:08Z

Changed redirect target from Bjeheond/Music to Verse:Tricin/Bjeheond/Music

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	#redirect [[Bjeheond/Music]]		#redirect [[Verse:Tricin/Bjeheond/Music]]

IlL: Redirected page to Bjeheond/Music

2021-07-23T02:53:52Z

Redirected page to Bjeheond/Music

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			#redirect [[Bjeheond/Music]]
	~~==Scales==~~
	~~'''Netagin music''', both classical and modern, is usually taught based on 19 equal divisions of the octave (19edo), a [[w:Regular diatonic tuning\|diatonic tuning]] where E~~# is equated to Fb instead of E# = F as in 12edo. Before the invention of electronic tuners, this temperament could be realized by tuning a chain of 19 pure 5/3 minor sixths, which approximates the tuning to less than 3 [[w:cent (music)\|cents]] of error. Though 19edo is a meantone tuning like 12edo and diatonic music is not uncommon in Netagin culture, liturgical and folk music is usually based on the semiquartal scale, the nine-note MOS scale 331313131 which is an extension of the familiar pentatonic scale. This article mainly deals with the use of the semiquartal scale in Netagin music.

	~~Liturgical chanting is not fixed to a particular tuning and may use traditional microtonal inflections or fine-tuned intervals.~~

	A ''hanier'' /hɐɲɪɾ/ (literally 'stepping') consists of a nine-note scale plus which subsets to emphasize, either a set of two ''buri'' /bɨ'ɾi/ (pentachords or hexachords; lit. 'sprint') or a ''pezům'' /pɛ'zuəm/ ~~('set of five'), a pentatonic subset where 1\19 is not used as a step. Different styles encourage different subset use.~~

	The most common diatonic modes in liturgical music are the Locrian and the Locrian #6. If necessary they are approximated with 19edo, for example for Locrian the 7-note subset 0-1-4-8-9-12-15-19 of the ''Pahnačie'' (sLsLsLLsL) mode is used.

	~~==''Buri''s==~~
	~~In theory, the six possible ''buri''s with large (C-D) and small (C-C#) steps that build up a scale are:~~
	~~#C-D-E-E#-F~~
	~~#C-D-Ebb-E#-F~~
	~~#C-D-Ebb-Eb-F~~
	~~#C-Dbb-Ebb-E#-F~~
	~~#C-Dbb-Ebb-Eb-F~~
	~~#C-Dbb-Db-E#-F~~
	In practice, usually only the first five are used. The two ''buri''s 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).

	~~The top note of a ''buri'' functions similarly to the ''ghammāz'' in Arabic ''ajnās''.~~

	~~A style that emphasizes ''buri''s is preferred for dark, mournful or creepy music (to emphasizing ''pezům''s).~~

	~~Other ''buri''s which include 2\19 (about 126 cents) steps:~~
	*C-D-Ebb-E-F
	*C-Db-Ebb-E#-F
	*C-Db-Ebb-E-F

	~~==''Pezům''s==~~
	~~[[File:pezeom.png\|thumbnail\|The ''Lynkědie'' mode of the 9-note scale, with the ''pezům'' 0-250-500-700-950-1200 highlighted (notated in 19edo).~~]]

	~~''Pezům''s are said to sound brighter.~~

	~~Common ''pezům''s are (TODO: Netagin names):~~
	*C-D#-F-G-A#-C ("the most neutral-sounding")
	*C-D-E-G-A-C ("mellow and joyful")
	*C-D-E-G-A#-C ("pompous")
	*C-D#-E#-G-A#-C ("majectic")
	*C-D-E#-G-A#-C ("unsettled, suspended")
	*C-D#-E#-G#-A-C ("slightly anxious and distressed")
	*C-Eb-F-G-Bb-C
	~~Rarer ''pezům''s:~~
	*C-Eb-F-G-A#-Cb ("exotic")
	*C-D#-F#-Ab-Bb-C 0-250-550-800-1000-1200 ("disoriented")

	~~==Counterpoint==~~
	~~Mainly based on ''pezum''s with ornamentations as needed?~~

	~~===Contrary motion===~~
	*You can resolve to 250 inward.
	*400 can open to 500
	*450 can open to 700
	*950 can open to 1200
	*be aware that naiadics are highly active: try to resolve naiadics to intervals or use them as a jumping point to modulate.
	*250 is relatively stable so you should close down to it using contrary motion, it wont work as well as parallel thirds, tho.
	*500 and 1000 are ambiguous suspended intervals.

	~~===Parallel motion===~~
	*Parallel mosfourths (450 or 300) are good for contrasting the consonant 300 with the rougher 450. Parallel mossevenths (750 or 900) are similar.
	*Parallel moseighths (950 or 800) are ok.
	*Parallel mosthirds (250 or 400) work less well; widen parallel mosthirds by octaves.
	*Avoid parallel fourths or fifths unless you have a good reason to use them.
	*Avoid parallel seconds or sevenths

	~~==Harmony==~~
	~~Semiquartal modal and functional harmony is a more modern construct and is a staple of modern Netagin popular music, such as rock, metal and electronic music.~~
	~~===MOS modes===~~
	~~Modes of the 9-note scale are called ''hačama'' (sg. ''hačame'', lit. facial expression).~~

	~~TODO: Netagin names~~

	~~L = C-D, s = C-C# (C-C half-sharp in 24edo)~~
	*''Cimmaqie'': LLsLsLsLs (Tsimma'ian)
	*''Tavůlie'': LsLLsLsLs (Tavulian)
	*''Lannie'': LsLsLLsLs (Lannian)
	*''Bonžie'': LsLsLsLLs (Bonzhian)
	*''Ťatůpie'': LsLsLsLsL (Tjatupian)
	*''Zieřokie'': sLLsLsLsL (Zierokian)
	*''Vašmie'': sLsLLsLsL (Vashmian)
	*''Pahnačie'': sLsLsLLsL (Pahnachian)
	*''Qyporie'': sLsLsLsLL (Iporian)

	~~===MODMOS modes===~~
	~~===Functional harmony===~~
	Many of the harmonic functions carry over from diatonic, because the semiquartal scale has fifths and seconds similar to that of diatonic. The functions new to semiquartal are bolded; semi- is used for functions that are a semi-fourth below a diatonic function and similarly hemi- for semi-fourth above a diatonic function. Functions modulate naturally to other functions via fifths, semi-fourths, or sometimes naiadics (perfect fifth minus semifourth; 442 cents in 19edo).
	*I. Tonic
	*II. Supertonic
	*III. '''Semisubdominant'''/Mediant (major)
	*IV. Mediant (minor)/'''Semidominant'''
	*V. Subdominant (aka leading tone to dominant)
	*VI. Dominant
	*VII. '''Semisubtonic'''/Submediant(major)
	*VIII. Submediant(minor)/'''Hemidominant'''
	*IX. Subtonic/Leading tone

	~~==Diatonic music==~~
	~~Renaissance-esque, choral stuff?~~

	~~Altered diatonic scales~~

IlL at 03:27, 21 July 2021

2021-07-21T03:27:19Z

← Older revision		Revision as of 03:27, 21 July 2021
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	==Harmony==		==Harmony==
	~~Nonatonic~~ modal and functional harmony is a more modern construct and is a staple of modern Netagin popular music, such as rock, metal and electronic music.		Semiquartal modal and functional harmony is a more modern construct and is a staple of modern Netagin popular music, such as rock, metal and electronic music.
	===MOS modes===		===MOS modes===
	Modes of the 9-note scale are called ''hačama'' (sg. ''hačame'', lit. facial expression).		Modes of the 9-note scale are called ''hačama'' (sg. ''hačame'', lit. facial expression).
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	===MODMOS modes===		===MODMOS modes===
	===Functional harmony===		===Functional harmony===
	Many of the harmonic functions carry over from diatonic, because the ~~nonatonic~~ scale has fifths and seconds similar to that of diatonic. The functions new to ~~nonatonic~~ are bolded; semi- is used for functions that are a semi-fourth below a diatonic function and similarly hemi- for semi-fourth above a diatonic function. Functions modulate naturally to other functions via fifths, semi-fourths, or sometimes naiadics (perfect fifth minus semifourth; 442 cents in 19edo).		Many of the harmonic functions carry over from diatonic, because the semiquartal scale has fifths and seconds similar to that of diatonic. The functions new to semiquartal are bolded; semi- is used for functions that are a semi-fourth below a diatonic function and similarly hemi- for semi-fourth above a diatonic function. Functions modulate naturally to other functions via fifths, semi-fourths, or sometimes naiadics (perfect fifth minus semifourth; 442 cents in 19edo).
	*I. Tonic		*I. Tonic
	*II. Supertonic		*II. Supertonic