Verse:Tricin/Musical traditions archaeology: Difference between revisions
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* ''ỏr'': the monochord | * ''ỏr'': the monochord | ||
** This is usually tuned to 8<sup>0</sup>, with the two main methods of playing the instrument being plucking while pressing the strings or lightly touching them to produce harmonics. | ** This is usually tuned to 8<sup>0</sup>, 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 | * ''slů{{grave}}'': the vertical rebec | ||
** This is usually tuned to 8<sup>2</sup> 12<sup>2</sup>. It is played vertically, and it has a small circular body and a long neck. | ** This is usually tuned to 8<sup>2</sup> 12<sup>2</sup> 8<sup>3</sup>. It is played vertically, and it has a small circular body and a long neck. | ||
* ''lum jáq'': the guitar | * ''lum jáq'': the guitar | ||
** This is usually tuned to 8<sup>1</sup> 12<sup>1</sup> 8<sup>2</sup> 12<sup>2</sup>. This is played in the exact same manner as the Chinese ''ruan'' but it has a rectangular body. | ** This is usually tuned to 8<sup>1</sup> 12<sup>1</sup> 8<sup>2</sup> 12<sup>2</sup>. This is played in the exact same manner as the Chinese ''ruan'' but it has a rectangular body. | ||
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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 traditional notes in the traditional gamut of Æ music. | 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 traditional notes in the traditional gamut of Æ music. | ||
8<sup>0</sup> is the notation for ''dó''. | 8<sup>0</sup> is the notation for the lowest ''dó''. | ||
8<sup>0</sup> 9<sup>0</sup> 10<sup>0</sup> 11<sup>0</sup> 12<sup>0</sup> 13<sup>0</sup> 14<sup>0</sup> 15<sup>0</sup> | 8<sup>0</sup> 9<sup>0</sup> 10<sup>0</sup> 11<sup>0</sup> 12<sup>0</sup> 13<sup>0</sup> 14<sup>0</sup> 15<sup>0</sup> | ||
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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 Glàng E{{tilde}}v-Sæ{{ring}} do not support this and instead use the ''bæ{{ring}}{{cdb}}m'' as a pitched percussion instrument, using a set of three ''bæ{{ring}}{{cdb}}m'' tuned to 8<sup>0</sup>, 10<sup>0</sup>, and 12<sup>0</sup>. | 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 Glàng E{{tilde}}v-Sæ{{ring}} do not support this and instead use the ''bæ{{ring}}{{cdb}}m'' as a pitched percussion instrument, using a set of three ''bæ{{ring}}{{cdb}}m'' tuned to 8<sup>0</sup>, 10<sup>0</sup>, and 12<sup>0</sup>. | ||
==Ensembles== | |||
All ensembles must contain a ''væ{{tilde}}'', a ''bæ{{ring}}{{cdb}}m'' as the tonal and rhythmic base respectively for the entire ensemble. | |||
A traditional "Æ quartet" is made out of a ''væ{{tilde}}'', a ''bæ{{ring}}{{cdb}}m'', a ''vód'', and a ''slů{{grave}}''. | |||
==Styles== | ==Styles== | ||
The most common folk style is a 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. | The most common folk style is a 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. | ||