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Author Topic: Music of the Santharian Kingdom - New Entry under Development  (Read 22830 times)
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Gean Firefeet
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« Reply #15 on: 25 July 2007, 08:48:28 »

Bit my head off? Don't worry, I have several ;)

No really, I'm all ears (besides several heads, that is ;)) for that kind of thing. I never had Garlandia in my classes, though modal rhythm is familiar. I rarely deal with pre-Ars Nova music, so forgive my ignorance. And only lately I performed medievil dances together with a recorder player, and that was a rare exception of music I play before 1600... but anyway, we're digressing, aren't we. Let's hope the Bard drops in for a more elaborate answer :D
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Bard Judith
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« Reply #16 on: 25 July 2007, 11:30:55 »

Talia - sorry I didn't make that clear!   What I have up top is ONLY my original post - however, your comments are all still preserved in the FIRST post of the old entry.   I need to go through and pick them out and respond/integrate/debate as necessary - however, since it wasn't formatted other people couldn't possibly tell what was my work and what was your extensive commentary.   I'm effectively starting from scratch - but don't worry, you don't have to. 

Gean and Petros:  a musical debate is generally called opera!

And yes, I do intend this system to be flexible and relative.  There is no time signature in this system - one needs to look at the strike line and choose a tempo.   I'm thinking of making a syllable with NO strike be 'the fastest possible'  - for runs and arpeggios and quavers, for example.  Other notations (thanks, Talia!) may very well be written in either as words ('to be played slowly and sensitively') or as artistic flourishes (like a hold line)   

If we bear in mind that this system of notation is fairly recent in Santharian history, it would make sense that it is also by comparison a yet un-elaborated and simple system, having had no time to accrue the various complexities and sophistications with which time would gift it.   Music was/is still transmitted orally from bard to bard - which is why Gean and Judith and their ilk spend a lot of time on the road collecting the stuff rather than paying SanthEx or SPS (Sarvonian Postal System) to send them packets of manuscripts and CDs every month!
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Artimidor Federkiel
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« Reply #17 on: 26 July 2007, 05:47:25 »

Side note: Gean's Instrument Template suggestion was now added to the sticky topic here on "How to..." Don't bother about it showing up in a post of Judy, I just removed a bunch of posts there clearing things up and edited this template in. I also brought all the other templates there in proper shape, so that they look the same now. Will do anchor links like in the sticky Places thread as well a bit later.

The template will also be included next update on the "Misc. Development Rules" page directly on the site.
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Petros Greenvale
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« Reply #18 on: 01 September 2007, 09:52:24 »

Bumping, so that i dont have to keep flicking back to page two!! heart :D
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Petros Greenvale
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« Reply #19 on: 01 September 2007, 21:47:36 »

Sand Flute:

The only genuine wind instrument set upon the Percussion Table. The sand flute is a small flute (1.5 handspans in length) made entirely of stone. Its hard and heavy bore gifts it with a beautiful mellow tone, that should be played amongst the rest of the wind section, but sadly this little flute has been shunned from the lime light becase most Flautists regard it as a practice flute, or as a cheap starter instrument before you are ready to make a big musical investment. Its main orchestral use is to be a fourth harmonious part when a fourth flute is absent, this is a very important job however because the fourth part is the root of all chords and the whole harmony would be in dissaray without it. The other flautists might not accept it, but this little instrument is more important than you think!

A refugee from the "Sarvonian Percussion Instruments" entry. :D
« Last Edit: 02 September 2007, 06:03:05 by Petros Greenvale » Logged

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Petros Greenvale
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« Reply #20 on: 02 September 2007, 06:25:44 »

Dear Bard,

 i have a Musical Notation entry in the works, and i was wondering if this would be a suitable format of your wonderful notation, because i cannot get strikethroughd to travel the desired length.

Here is a two part canon of Fere Jaques transposed into your notation as an example, this is the format i am using in my entry.


Ey____  Ba____  Je____  Ey____  Ba____  Je____  Ey____  Je____  Ur____  Os____
                                                                                     Ey____  Ba____  Je____

Je____  Ur____  Os____  Os__  Goh__  Os__  Ur__  Je__  Ey____ Os__  Goh__ 
Ey____  Ba____  Je____  Je____  Ur____  Os____  Je____  Ur____ Os____

Os __  Ur__  Je__  Ey____  Ey____  Os>__  Ey____  Ey____  Os>__  Ey______
Os__  Goh__  Os__  Ur__  Je__  Ey____  Os__  Goh__  Os__  Ur__  Je__  Ey____

Ey____  Os>__  Ey____  Ey____  Os>__  Ey______

>equals down a pantheon, please comment me or PM me with your thoughts.


Thank you very much for your time, my busy Bard!! heart grin

« Last Edit: 02 September 2007, 06:43:21 by Petros Greenvale » Logged

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Petros Greenvale
Bard Judith
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« Reply #21 on: 02 September 2007, 10:09:19 »

Without checking the whole song (cos I don't have my notation memorized any more than I have the whole ThergerimTaal dictionary in my head!) I think the only error is that you haven't repeated the first 'Doh' or 'Ey' at the beginning of the second phrase.

Ey____  Ba____  Je____  Ey____  Ba____  Je____  Ey____  should read

Ey____  Ba____  Je____  Ey____ ,    Ey____ Ba____  Je____  Ey____  ... to match up with

"Frer   -   eh  -      Jah -  kuh        ,     Frer    -  eh  -     Jah -      kuh ..." 

The rest looks good!   I'm not sure about notating up and down pantheons with < and > - I think I chose to use numbers, but have a look at the entry and its comments again, as everything STILL hasn't been integrated (blushes)...
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Petros Greenvale
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« Reply #22 on: 02 September 2007, 18:52:11 »

Thanks Judy! heart

So a rest equals a comma then? the longer the rest the more commas?
and if numbering the pantheon, would deep be 1 or would true be 1?

Thanks muchly again bard!!!! grin hug
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Petros Greenvale
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« Reply #23 on: 30 November 2007, 08:17:24 »

Bringing up to top again so this does not drown in the Misc. Forum.

We really need to make this a sticky so it can be added to like a Team Project.  Possible, dear Sage?
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Artimidor Federkiel
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« Reply #24 on: 30 November 2007, 15:55:15 »

Ok, got it stickied now :)
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Petros Greenvale
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« Reply #25 on: 14 December 2007, 19:44:57 »

I know you want to keep it simple, but here are my ideas on how we could develop the scales of the santharian Pantheon:

*******

The Santharian pantheon is made up of twelve notes (The Pantheonic Palette), each of these notes has its own corresponding scale, where it resides as the foundation note (root note). These Scales are called the Chromatic Gamuts (or Gams for short)

Each Gamut uses a different combination of the twelve notes of the Pantheonic Palette when building the scale. Every note will have a possibility of four Gamuts where it is the foundation. The are the Joyful, Woeful, Angry and Giddy Gamuts. The Joyful Gamut is considered to be the original Gamut, and it is warped ever so slightly to change the mood. For instance, here are the Gamuts for Ba...

Joyful (Original):

Ba--Je--Eh--Os--Goh--Que--Neh--Ba

Woeful:

Ba--Je--Ur--Os--Goh--Fo--Neh--Ba

Angry:

Ba--Je--Ur--Os--Goh--Que--Ey--Ba

Giddy:

Ba--Je--Eh--Os--Goh--Que--Ey--Ba

(Note how the Gamot always begins an ends with the foundation)
(Ey is the only foundation that will have no angry Gamut, for Eyasha is ever peaceful)

When A musical piece is wanted to be played in a particular Gamut, the composer will put the enitials for the foundation note at the very beggining of the score, and put the following symbols to state whether it is the Joyful,Woeful,Angry or Giddy Gamuts:

Joyfull: OoO

Woefull: IiI

Angry: ^

Giddy: ~


*********

Just a few wee ideas....Please add to them yall....well if you want a semi-complicated pantheon that is! XD

By the way the Joyfull and Woeful are the same as the major and minor scales, the angry is its mode, but the giddy is the major scale with the 7th moved down a semitone.

« Last Edit: 12 July 2008, 09:24:59 by Petros Greenvale » Logged

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Petros Greenvale
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« Reply #26 on: 29 May 2008, 21:10:31 »

The notation thread, referenced in the Shoutbox, for your viewing pleasure.
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« Reply #27 on: 11 July 2008, 15:33:40 »

A reminder: More work for Judy   buck

And as I saw Petros and Gean around, this might be a good time for bringing it forward
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« Reply #28 on: 09 February 2009, 05:37:56 »

Would love to lend a hand on anything here if needed!
Would be nice to see it up and running in time! :)
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« Reply #29 on: 11 August 2010, 20:02:59 »

Aaah... Brownies can't play big instruments! They need smaller ones.

Suggestion:
Ihrroh – a brownie wind instrument shaped like a bag with two closed, rounded, pipes protruding from the bottom and one open pipe from the top. Sound is produced by blowing into the top pipe and notes are produced by adjusting wooden or bone membranes within the bag through the pulling of loops on the outside. The sound is reminiscent of birdsong.

Edit: They are small.
« Last Edit: 12 August 2010, 05:23:11 by Sparkle » Logged

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