Shi'er lü (Chinese: 十二律; pinyin: shí'èr lǜ; lit. '12 pitches'; Mandarin pronunciation:[ʂɻ̩˧˥aɚ˥˧ly˥˩]) is a standardized gamut of twelve notes used in ancient Chinese music.[1] It is also known, rather misleadingly, as the Chinese chromatic scale; it was only one kind of chromatic scale used in ancient Chinese music. The shi'er lü uses the same intervals as the Pythagorean scale, based on 3:2 ratios (8:9, 16:27, 64:81, etc.). The gamut or its subsets were used for tuning and are preserved in bells and pipes.[2]
Unlike the Western chromatic scale, the shi'er lü was not used as a scale in its own right; it is rather a set of fundamental notes on which other scales were constructed.[3]
The first reference to "standardization of bells and pitch" dates back to around 600 BCE, while the first description of the generation of pitches dates back to around 240 CE.[3]
There were 12 notes in total, which fall within the scope of one octave. Note that the mathematical method used by the ancient Chinese could never produce a true octave, as the next higher frequency in the series of frequencies produced by the Chinese system would be higher than 880 hertz.
How the scales are produced. Start with a fundamental frequency. (440 hertz is used here.) Apply the ratios to make the first column. Copy the second and all further elements in this column to the respective heads of the other eleven columns. Apply the ratios to make the second through the twelfth columns. So doing produces 144 frequencies (with some duplications). From each column five different selections of non-adjacent frequencies can be made that never jump more than three available notes, and never jump two twice in a row. (See the colored blocks at the far left.) So each column can produce five different pentatonic scales, and with all the columns involved there are 60 pentatonic scales available to musicians.A comparative table of Eastern and Western notes of chromatic scale, from a book published in Kyoto in 1909. This table shows that the pitch of the first note Huang Zhong (黃鐘; huáng zhōng) is equivalent to D in Western classical music, while it was A in Ming era.
Reinisch, Richard (?). Chinesische Klassische Musik, p. 30. Books On Demand. ISBN978-3-8423-4502-7.
Sourcesedit
^Joseph C.Y. Chen (1996). Early Chinese Work in Natural Science: A Re-examination of the Physics of Motion, Acoustics, Astronomy and Scientific Thoughts, p. 96. ISBN962-209-385-X.
^ abNeedham, Joseph (1962/2004). Science and Civilization in China, Vol. IV: Physics and Physical Technology, p.170-171. ISBN978-0-521-05802-5.
^一种体系 两个系统 by 陈应时 (Yi zhong ti-xi, liang ge xi-tong by Chen Ying-shi of the Shanghai Conservatory), Musicology in China, 2002, Issue 4, 中国音乐学，2002，第四 期
External linksedit
Graham Pont. "Philosophy and Science of Music in Ancient Greece: The Predecessors of Pythagoras and their Contribution", Nexus Network Journal.
April 12, 2024
chinese, 十二律, pinyin, shí, pitches, mandarin, pronunciation, ʂɻ, standardized, gamut, twelve, notes, used, ancient, chinese, music, also, known, rather, misleadingly, chinese, chromatic, scale, only, kind, chromatic, scale, used, ancient, chinese, music, uses,. Shi er lu Chinese 十二律 pinyin shi er lǜ lit 12 pitches Mandarin pronunciation ʂɻ aɚ ly is a standardized gamut of twelve notes used in ancient Chinese music 1 It is also known rather misleadingly as the Chinese chromatic scale it was only one kind of chromatic scale used in ancient Chinese music The shi er lu uses the same intervals as the Pythagorean scale based on 3 2 ratios 8 9 16 27 64 81 etc The gamut or its subsets were used for tuning and are preserved in bells and pipes 2 Shi er lu on C Play Unlike the Western chromatic scale the shi er lu was not used as a scale in its own right it is rather a set of fundamental notes on which other scales were constructed 3 The first reference to standardization of bells and pitch dates back to around 600 BCE while the first description of the generation of pitches dates back to around 240 CE 3 Contents 1 Note names 2 See also 3 Further reading 4 Sources 5 External linksNote names edit黃鐘 黄钟 Huang Zhōng tonic unison 1 1 Play 大呂 大吕 Da Lǚ semitone 37 211 Play 太簇 Tai Cu major second 32 23 Play 夾鐘 夹钟 Jia Zhōng minor third 39 214 Play 姑洗 Gu Xiǎn major third 34 26 Play 仲呂 中吕 Zhong Lǚ perfect fourth 311 217 Play 蕤賓 蕤宾 Rui Bin tritone 36 29 Play 林鐘 林钟 Lin Zhōng perfect fifth 3 2 Play 夷則 夷则 Yi Ze minor sixth 38 212 Play 南呂 南吕 Nan Lǚ major sixth 33 24 Play 無射 无射 Wu Yi minor seventh 310 215 Play 應鐘 应钟 Ying Zhōng major seventh 35 27 Play There were 12 notes in total which fall within the scope of one octave Note that the mathematical method used by the ancient Chinese could never produce a true octave as the next higher frequency in the series of frequencies produced by the Chinese system would be higher than 880 hertz nbsp How the scales are produced Start with a fundamental frequency 440 hertz is used here Apply the ratios to make the first column Copy the second and all further elements in this column to the respective heads of the other eleven columns Apply the ratios to make the second through the twelfth columns So doing produces 144 frequencies with some duplications From each column five different selections of non adjacent frequencies can be made that never jump more than three available notes and never jump two twice in a row See the colored blocks at the far left So each column can produce five different pentatonic scales and with all the columns involved there are 60 pentatonic scales available to musicians nbsp A comparative table of Eastern and Western notes of chromatic scale from a book published in Kyoto in 1909 This table shows that the pitch of the first note Huang Zhong 黃鐘 huang zhōng is equivalent to D in Western classical music while it was A in Ming era See the article by Chen Ying shi 4 See also editChinese musicologyFurther reading editReinisch Richard Chinesische Klassische Musik p 30 Books On Demand ISBN 978 3 8423 4502 7 Sources edit Joseph C Y Chen 1996 Early Chinese Work in Natural Science A Re examination of the Physics of Motion Acoustics Astronomy and Scientific Thoughts p 96 ISBN 962 209 385 X Chen 1996 p 97 a b Needham Joseph 1962 2004 Science and Civilization in China Vol IV Physics and Physical Technology p 170 171 ISBN 978 0 521 05802 5 一种体系 两个系统 by 陈应时 Yi zhong ti xi liang ge xi tong by Chen Ying shi of the Shanghai Conservatory Musicology in China 2002 Issue 4 中国音乐学 2002 第四 期External links editGraham Pont Philosophy and Science of Music in Ancient Greece The Predecessors of Pythagoras and their Contribution Nexus Network Journal Retrieved from https en wikipedia org w index php title Shi 27er lu amp oldid 1204769296, wikipedia, wiki, book, books, library,
