Some examples of random musical forms (2/26/15) -- subject to change! Notably, the instruments do not have short descriptions included in these paragraphs yet -- it just uses their native names. There will probably also be cases before the first release where the instrument is not completely specified, allowing some versatility. None of the examples below have the voices switching roles between passages, but that is already a possibility -- there should also be more explicit rhythm and harmony voices by the time it is done. These are all examples from different civilizations -- examples from the same civilization sometimes use the same rhythm patterns and they use the same scale system.
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A devotional form of music directed toward the worship of Nokor Bonehell the Fate of Witches originating in The Glaze of Belts. The rules of the form are applied by composers of individual songs. The music is played on a tangath and a nish. It is performed in the agek rhythm.
The tangath always does the main melody, should be graceful and glides from note to note.
The nish always does the main melody and should be made sweetly.
The form has a well-defined multi-passage structure: a brief introduction and a brief theme and a brief series of variations on the theme possibly all repeated.
The introduction accelerates as it proceeds, and it is to become softer and softer. The passage is performed using the bemong scale.
The theme is slow, and it is to be very soft. The passage is performed using the bemong scale.
The series of variations slows and broadens, and it is to become softer and softer. The passage is performed using the berim scale.
Scales are conceived of as two chords built using a division of the perfect fourth interval into eight notes. The tonic note is fixed only at the time of performance.
As always, the bemong heptatonic scale is thought of as two disjoint chords drawn from the fundamental division of the perfect fourth. These chords are named anam and izeg.
The anam tetrachord is the 1st, the 3rd, the 5th and the 8th degrees of the fundamental perfect fourth division.
The izeg tetrachord is the 1st, the 4th, the 7th and the 8th degrees of the fundamental perfect fourth division.
As always, the berim heptatonic scale is thought of as two disjoint chords drawn from the fundamental division of the perfect fourth. These chords are named mabdug and izeg.
The mabdug tetrachord is the 1st, the 2nd, the 5th and the 8th degrees of the fundamental perfect fourth division.
The agek rhythm is a single line with thirty-two beats divided into four bars in a 8-8-8-8 pattern. The beats are named ucat (spoken uc), ngarak (nga), enir (en), ugath (ug), lisig (li), etag (et), erong (er) and osed (os). The beat is stressed as follows:
| - x x - X - - - | x - - x x ! x - | X x x - x - - - | - X x - x - x - |
where ! marks the primary accent, X marks an accented beat, x is a beat, - is silent and | indicates a bar.
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A devotional form of music originating in The Superior Rampart. The form guides musicians during improvised performances. The music is played on a nog. The entire performance should feel playful, and it is to be very loud.
The nog always does the main melody and makes trills.
The form has a simple structure: three to five unrelated passages.
Each of the simple passages is moderately fast. Each passage is performed using the kulet scale and in the noval rhythm. Each passage should be performed using glides.
Scales are constructed from twenty-four notes spaced evenly throughout the octave. The tonic note is fixed only at the time of performance. Every note is named. The names are thoth (spoken tho), thatthil (tha), gostang (go), libash (li), lakish (la), asdos (as), roder (ro), nel (ne), biban (bi), ugog (ug), ish (ish), robek (ro), olmul (olm), nokzam (no), emuth (em), fer (fe), uvel (uv), dolush (do), agek (ag), ucat (uc), ngarak (nga), enir (en), ugath (ug) and lisig (li).
The kulet heptatonic scale is thought of as two disjoint chords spanning two perfect fourths. These chords are named alak and gatal.
The alak tetrachord is the 1st, the 3rd, the 5th and the 11th degrees of the quartertone octave scale.
The gatal tetrachord is the 15th, the 18th, the 21st and the 25th (completing the octave) degrees of the quartertone octave scale.
The noval rhythm is made from two patterns: the alath (considered the primary) and the suthmam. The patterns are to be played over the same period of time, concluding together regardless of beat number.
The alath rhythm is a single line with sixteen beats divided into two bars in a 8-8 pattern. The beats are named osod (spoken os), thikut (thi), cog (co), selsten (se), egdoth (eg), othsin (oths), idek (id) and ust (ust). The beat is stressed as follows:
| x X x x - - x x | - - - - - x - - |
where X marks an accented beat, x is a beat, - is silent and | indicates a bar.
The suthmam rhythm is a single line with four beats. The beat is stressed as follows:
| - X x x |
where X marks an accented beat, x is a beat, - is silent and | indicates a bar.
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A devotional form of music directed toward the worship of Enure Deerlizard originating in The Wind of Moths. The rules of the form are applied by composers of individual songs. One to two chanters recite the words of a (name of poetic form here). It is performed using the aweme scale and in the alo rhythm. Throughout, when possible, composers and performers are to make trills.
Each chanter always does the main melody.
The form has a well-defined multi-passage structure: a brief verse and a brief chorus all repeated one times and a brief coda.
The verse is moderately fast, and it is to be moderately soft.
The chorus slows and broadens, and it is to be moderately loud.
The coda is very fast, and it is to be very soft.
Scales are conceived of as two chords built using a division of the perfect fourth interval into eight notes. The tonic note is fixed only at the time of performance.
As always, the aweme hexatonic scale is thought of as two disjoint chords drawn from the fundamental division of the perfect fourth. These chords are named eyo and datha.
The eyo tetrachord is the 1st, the 3rd, the 5th and the 8th degrees of the fundamental perfect fourth division.
The datha trichord is the 1st, the 2nd and the 8th degrees of the fundamental perfect fourth division.
The alo rhythm is made from two patterns: the amama (considered the primary) and the otoga. The patterns are to be played over the same period of time, concluding together regardless of beat number.
The amama rhythm is a single line with four beats divided into two bars in a 2-2 pattern. The beats are named thafatha (spoken tha) and etini (et). The beat is stressed as follows:
| - x | - x |
where x is a beat, - is silent and | indicates a bar.
The otoga rhythm is a single line with three beats. The beats are named dinade (spoken di), cenopu (ce) and ele (el). The beat is stressed as follows:
| - x x |
where x is a beat, - is silent and | indicates a bar.
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A form of music used for entertainment originating in The Grasping Oaks. The form guides musicians during improvised performances. A chanter recites the words of a (name of poetic form here) while the music is played on a rofela. The entire performance slows and broadens. It is performed using the tarathe scale and in the bulifo rhythm. Throughout, when possible, performers are to use grace notes, alternate tension and repose and play arpeggios.
The chanter always does the main melody, should be passionate and is to be loud.
The rofela always does the main melody, should be melancholic and is to be soft.
The form has a well-defined multi-passage structure: a theme, a brief exposition of the theme and a brief recapitulation of the theme.
Scales are constructed from twenty-four notes spaced evenly throughout the octave. The tonic note is a fixed tone passed from teacher to student. After a scale is constructed, the root note of chords are named. The names are cuthefi (spoken cu) and cede (ce).
The tarathe pentatonic scale is thought of as joined chords spanning a perfect fifth and a perfect fourth. These chords are named aratha and fathinu.
The aratha tetrachord is the 1st, the 4th, the 9th and the 15th degrees of the quartertone octave scale.
The fathinu trichord is the 15th, the 19th and the 25th (completing the octave) degrees of the quartertone octave scale.
The bulifo rhythm is made from two patterns: the emu (considered the primary) and the otoga. The patterns are to be played in the same beat, allowing one to repeat before the other is concluded.
The emu rhythm is a single line with twenty-seven beats divided into five bars in a 7-6-4-6-4 pattern. The beat is stressed as follows:
| - - x x - - x | - - x x - x | - - x - | - - - x x - | x x x x |
where x is a beat, - is silent and | indicates a bar.
The otoga rhythm is a single line with eighteen beats divided into two bars in a 11-7 pattern. The beat is stressed as follows:
| x - - x x x - - x - - | x - x - - - - |
where x is a beat, - is silent and | indicates a bar.
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A form of music used to commemorate important events originating in The Bald Vessel. The form guides musicians during improvised performances. A singer recites the words of a (name of poetic form here), while the music is played on a koshmot and a cenath. The entire performance should be melancholic. It is performed without preference for a scale and in free rhythm.
The singer always does the main melody.
The koshmot always always does the counterpoint melody.
The cenath always does the main melody and makes trills.
The form has a simple structure: a brief passage.
The simple passage is consistently slowing, and it is to become softer and softer.
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A devotional form of music originating in The Bulbous Terrors. The form guides musicians during improvised performances. A singer recites the words of a (name of poetic form here) while the music is played on a stotho. It is performed in free rhythm. Throughout, when possible, performers are to use grace notes, use mordents and alternate tension and repose.
The singer always does the main melody.
The stotho always does the main melody.
The form has a well-defined multi-passage structure: a lengthy introduction and a brief theme and a brief series of variations on the theme.
The introduction should be passionate and is at a walking pace, and it is to start loud then be immediately soft. The passage is performed using the uto scale. The passage should be performed using frequent modulation.
The theme should be fiery and is extremely fast, and it is to be loud. The passage is performed using the uto scale. The passage should be performed using locally improvisation, frequent modulation and legato. The passage should sometimes include a falling-rising melody pattern with grace notes and mordents, sometimes include a rising-falling melody pattern with grace notes and mordents and often include a rising melody pattern with grace notes and mordents.
The series of variations should be joyful and is moderately paced, and it is to become louder and louder. The passage is performed using the usmdas scale. The passage should be performed using locally improvisation. The passage should often include a rising melody pattern with grace notes and mordents.
Scales are constructed from twelve notes spaced evenly throughout the octave. The tonic note is a fixed tone passed from teacher to student.
The uto hexatonic scale is thought of as two disjoint chords spanning two perfect fourths. These chords are named ngub and ozse.
The ngub trichord is the 1st, the 5th and the 6th degrees of the semitone octave scale.
The ozse tetrachord is the 8th, the 10th, the 11th and the 13th (completing the octave) degrees of the semitone octave scale.
The usmdas pentatonic scale is thought of as two disjoint chords spanning two perfect fourths. These chords are named ogo and asmuk.
The ogo trichord is the 1st, the 3rd and the 6th degrees of the semitone octave scale.
The asmuk trichord is the 8th, the 10th and the 13th (completing the octave) degrees of the semitone octave scale.
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A devotional form of music originating in The Triangular Volcano. The rules of the form are applied by composers of individual songs. Three chanters recite the words of a (name of poetic form here). The entire performance should be grand, and it is to be loud. It is performed using the warere scale and in the upe rhythm. Throughout, when possible, composers and performers are to glide from note to note, alternate tension and repose and freely adjust the beats.
Each chanter always does the main melody.
The form has a simple structure: three to four brief unrelated passages.
Each of the simple passages is at a free tempo.
Scales are constructed from fourteen notes dividing the octave. In quartertones, their spacing is roughly
1-x-x-x-xx-x-xx-xx-x-x-xO
where 1 is the tonic, O marks the octave and x marks other notes. The tonic note is fixed only at the time of performance.
The warere heptatonic scale is constructed by selection of degrees from the fundamental scale. The degrees selected are the 1st, the 3rd, the 4th, the 6th, the 8th, the 10th and the 12th.
The rhythm system is fundamentally polyrhythmic. There are always multiple rhythm lines, and each of their bars is played over the same period of time, regardless of the number of beats. The rhythm lines are thought of as one, without a primary-subordinate relationship, though individual lines can be named.
The upe rhythm is made from two patterns: the dinade and the tarathe. As stated above, they are to be played in polyrhythm.
The dinade rhythm is a single line with thirty-two beats divided into four bars in a 8-8-8-8 pattern. The beat is stressed as follows:
| - - x x x x x x | - x x - - - x - | x - - - x - - - | x - x x x x - x |
where x is a beat, - is silent and | indicates a bar.
The tarathe rhythm is a single line with nine beats divided into three bars in a 3-3-3 pattern. The beats are named cuthefi (spoken cu), cede (ce) and otoga (ot). The beat is stressed as follows:
| x - x | x x x | x x - |
where x is a beat, - is silent and | indicates a bar.
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A devotional form of music directed toward the worship of Takru originating in The Scoured Confederations. The rules of the form are applied by composers of individual songs. The music is played on a ulet, three eslul and two abuth. The entire performance should evoke tears. It is performed in free rhythm. Throughout, when possible, composers and performers are to use grace notes, alternate tension and repose, modulate frequently, play arpeggios and play staccato.
The ulet always provides the rhythm.
Each eslul always does the main melody.
Each abuth always does harmony.
The form has the following structure: a brief chorus and a brief verse all repeated two times.
The chorus is moderately paced, and it is to be soft. The passage is performed using the icmon scale.
The verse is slow, and it is to be moderately soft. The passage is performed using the ozi scale.
Scales are constructed from twenty-four notes spaced evenly throughout the octave. The tonic note is a fixed tone passed from teacher to student. After a scale is constructed, notes are named according to degree. The names are stalcon (spoken sta), nek (ne), lastta (la), cish (ci), ani (an), shato (sha) and almef (alm).
The icmon hexatonic scale is thought of as joined chords spanning a perfect fifth and a perfect fourth. These chords are named ilpi and othag.
The ilpi pentachord is the 1st, the 2nd, the 8th, the 10th and the 15th degrees of the quartertone octave scale.
The othag trichord is the 15th, the 16th and the 25th (completing the octave) degrees of the quartertone octave scale.
The ozi pentatonic scale is thought of as joined chords spanning a perfect fifth and a perfect fourth. These chords are named thad and dik.
The thad tetrachord is the 1st, the 5th, the 10th and the 15th degrees of the quartertone octave scale.
The dik trichord is the 15th, the 17th and the 25th (completing the octave) degrees of the quartertone octave scale.
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A form of music used for entertainment originating in The Intricate Tree. The rules of the form are applied by composers of individual songs. Three chanters recite nonsensical words and sounds, while the music is played on a soya, a reri and a yade. The entire performance should bring a sense of motion. It is performed using the datome scale and in free rhythm. Throughout, when possible, composers and performers are to make trills, locally improvise, alternate tension and repose and modulate frequently.
Each chanter always does the main melody and plays rapid runs.
The soya always does the main melody.
The reri always does the main melody.
The yade always does the main melody.
The form has a well-defined multi-passage structure: an introduction, a brief passage and another one to two brief passages possibly all repeated, a lengthy bridge-passage and a brief finale.
The introduction is extremely fast, and it is to fade into silence. The passage should always include a falling melody pattern with trills and always include a falling-rising melody pattern with sharpened second degree on the rise as well as trills.
The first simple passage is consistently slowing, and it is to be very loud. The passage should always include a rising-falling melody pattern with trills and sometimes include a falling melody pattern with sharpened fifth degree as well as trills.
Each of the second simple passages is at a walking pace, and it is to be in whispered undertones. Each passage should often include a rising-falling melody pattern with trills.
The bridge-passage is very slow, and it is to be moderately soft. The passage should often include a rising-falling melody pattern, often include a falling melody pattern with trills, always include a rising melody pattern with flattened sixth degree as well as trills and sometimes include a falling-rising melody pattern with flattened fourth degree on the fall as well as trills.
The finale is at a walking pace, and it is to be loud. The passage should always include a falling melody pattern with trills, sometimes include a rising-falling melody pattern with flattened sixth degree on the fall as well as trills and always include a rising melody pattern with trills.
Scales are conceived of as two chords built using a division of the perfect fourth interval into eight notes. The tonic note is a fixed tone passed from teacher to student. Every note is named. The names are thuna (spoken thu), arazi (ar), fidale (fi), tarathe (ta), cuthefi (cu), cede (ce), otoga (ot) and dinade (di).
As always, the datome heptatonic scale is thought of as two disjoint chords drawn from the fundamental division of the perfect fourth. These chords are named aro and fathinu.
The aro tetrachord is the 1st, the 2nd, the 3rd and the 8th degrees of the fundamental perfect fourth division. [P]The fathinu tetrachord is the 1st, the 3rd, the 6th and the 8th degrees of the fundamental perfect fourth division.
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A form of music used for entertainment originating in The Alchemical Hatred. The rules of the form are applied by composers of individual songs. Three chanters recite the words of a (name of poetic form here). The entire performance should be passionate. It is performed in the nolsmu rhythm. Throughout, when possible, composers and performers are to locally improvise and alternate tension and repose.
Each chanter always does the main melody.
The form has a well-defined multi-passage structure: a brief first theme, a brief exposition of the first theme, a brief bridge-passage, a lengthy second theme, a lengthy exposition of the second theme and a synthesis of previous passages.
The first theme accelerates as it proceeds, and it is to be in whispered undertones. The passage is performed using the slulasp scale. The passage should sometimes include a rising melody pattern with sharpened fourth degree, sometimes include a falling-rising melody pattern with flattened fourth degree on the rise, sometimes include a rising-falling melody pattern and sometimes include a falling melody pattern.
The first exposition is moderately paced, and it is to be soft. The passage is performed using the nuklat scale. The passage should always include a falling-rising melody pattern, always include a rising melody pattern, sometimes include a rising-falling melody pattern with flattened second degree on the rise and sometimes include a falling melody pattern with flattened second degree and sharpened fourth degree.
The bridge-passage is moderately fast, and it is to fade into silence. The passage is performed using the xenmu scale. The passage should often include a rising melody pattern.
The second theme is at a walking pace, and it is to be soft. The passage is performed using the nuklat scale. The passage should be composed and performed using rapid runs. The passage should often include a rising melody pattern with sharpened third degree, sometimes include a falling-rising melody pattern with flattened sixth degree on the rise, sometimes include a rising-falling melody pattern with flattened second degree on the rise and often include a falling melody pattern.
The second exposition moves more quickly than the last passage, and it is to be very loud. The passage is performed using the slusna scale. The passage should always include a rising-falling melody pattern and always include a falling-rising melody pattern.
The synthesis resumes the original tempo, and it is to be loud. The passage is performed using the sasne scale. The passage should often include a falling melody pattern with sharpened fourth degree.
Scales are constructed from twenty-four notes spaced evenly throughout the octave. The tonic note is a fixed tone passed from teacher to student. After a scale is constructed, the root note of chords are named. The names are urdu (spoken urd) and usmdas (us).
The slulasp pentatonic scale is thought of as two disjoint chords spanning a tritone and a perfect fourth. These chords are named abo and usnusp.
The abo trichord is the 1st, the 7th and the 13th degrees of the quartertone octave scale.
The usnusp trichord is the 15th, the 21st and the 25th (completing the octave) degrees of the quartertone octave scale.
The nuklat hexatonic scale is thought of as two disjoint chords spanning a tritone and a perfect fourth. These chords are named abo and ngub.
The ngub tetrachord is the 15th, the 17th, the 23rd and the 25th (completing the octave) degrees of the quartertone octave scale.
The xenmu hexatonic scale is thought of as two disjoint chords spanning a tritone and a perfect fourth. These chords are named abo and ekxox.
The ekxox tetrachord is the 15th, the 16th, the 22nd and the 25th (completing the octave) degrees of the quartertone octave scale.
The slusna hexatonic scale is thought of as two disjoint chords spanning a tritone and a perfect fourth. These chords are named lubu and usnusp.
The lubu tetrachord is the 1st, the 5th, the 10th and the 13th degrees of the quartertone octave scale.
The sasne heptatonic scale is thought of as two disjoint chords spanning a tritone and a perfect fourth. These chords are named lubu and ekxox.
The nolsmu rhythm is a single line with eight beats divided into two bars in a 4-4 pattern. The beat is stressed as follows:
| x X x - | - - x - |
where X marks an accented beat, x is a beat, - is silent and | indicates a bar.
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A devotional form of music directed toward the worship of The Island of Prairies originating in The Glowing Hame. The form guides musicians during improvised performances. Two singers recite the words of a (name of poetic form here). The entire performance should be joyful and is moderately paced. It is performed using the kulet scale. Throughout, when possible, performers are to alternate tension and repose.
Each singer always does the main melody and is to be very loud.
The form has a well-defined multi-passage structure: a brief chorus and a brief verse all repeated up to two times, a brief bridge-passage and a chorus and a lengthy verse.
The first chorus is performed in the ibruk rhythm.
The first verse is performed in free rhythm.
The bridge-passage is performed in the fer rhythm.
The second chorus is performed in the emuth rhythm.
The second verse is performed in free rhythm.
Scales are constructed from twenty notes dividing the octave. In quartertones, their spacing is roughly
1x-xx-x-xxxxxxxxxxxx-xxxO
where 1 is the tonic, O marks the octave and x marks other notes. The tonic note is a fixed tone passed from teacher to student. After a scale is constructed, the root note of chords are named. The names are gatal (spoken ga) and mabdug (ma).
The kulet hexatonic scale is constructed by selection of degrees from the fundamental scale. The degrees selected are the 1st, the 2nd, the 6th, the 11th, the 13th and the 15th.
The ibruk rhythm is a single line with thirty-two beats divided into four bars in a 8-8-8-8 pattern. The beats are named ermis (spoken erm), thoth (tho), thatthil (tha), gostang (go), libash (li), lakish (la), asdos (as) and roder (ro). The beat is stressed as follows:
| - x x - X - - - | x - x x x x X x'| x x x x X x x'x`| - X x - x - - - |
where X marks an accented beat, ` marks a beat as early, ' marks a beat as late, x is a beat, - is silent and | indicates a bar.
The fer rhythm is made from two patterns: the ibruk (considered the primary) and the bemong. The patterns are to be played over the same period of time, concluding together regardless of beat number.
The bemong rhythm is a single line with twenty beats divided into four bars in a 5-5-5-5 pattern. The beats are named gost (spoken go), ontak (ont), tosid (to), feb (fe) and berim (be). The beat is stressed as follows:
| x - - - x | x - x'- - | - X x'x - | x'x - - - |
where X marks an accented beat, ' marks a beat as late, x is a beat, - is silent and | indicates a bar.
The emuth rhythm is made from two patterns: the ish (considered the primary) and the ugog. The patterns are to be played in the same beat, allowing one to repeat before the other is concluded.
The ish rhythm is a single line with eight beats divided into two bars in a 4-4 pattern. The beat is stressed as follows:
| - - - x | X x x - |
where X marks an accented beat, x is a beat, - is silent and | indicates a bar.
The ugog rhythm is a single line with twenty-three beats divided into three bars in a 12-6-5 pattern. The beat is stressed as follows:
| x x x x X - - x x - - - | - x - - x - | x X'x - x |
where X marks an accented beat, ' marks a beat as late, x is a beat, - is silent and | indicates a bar.
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A form of music used to commemorate important events originating in The Winter of Focus. The form guides musicians during improvised performances. A singer recites the words of a (name of poetic form here) while the music is played on a rire. The entire performance is at a hurried pace, and it is to be very loud. It is performed using the yaniye scale. Throughout, when possible, performers are to use grace notes, locally improvise and alternate tension and repose.
The singer always does the main melody and should stress the rhythm.
The rire always does the main melody, should be spirited, uses mordents and modulates frequently.
The form has the following structure: a brief passage and a brief finale.
The simple passage is performed in the lari rhythm. The passage should always include a falling-rising melody pattern and always include a falling melody pattern.
The finale is performed in free rhythm. The passage should often include a falling-rising melody pattern with flattened third degree on the fall, sometimes include a rising melody pattern with sharpened fourth degree as well as grace notes, sometimes include a falling melody pattern with grace notes and sometimes include a rising-falling melody pattern with grace notes.
Scales are conceived of as two chords built using a division of the perfect fourth interval into eleven notes. The tonic note is a fixed tone passed from teacher to student.
As always, the yaniye heptatonic scale is thought of as two disjoint chords drawn from the fundamental division of the perfect fourth. These chords are named aro and datha.
The aro tetrachord is the 1st, the 3rd, the 9th and the 11th degrees of the fundamental perfect fourth division.
The datha tetrachord is the 1st, the 4th, the 8th and the 11th degrees of the fundamental perfect fourth division.
The lari rhythm is a single line with four beats. The beat is stressed as follows:
| - x x x |
where x is a beat, - is silent and | indicates a bar.
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A form of music used for entertainment originating in The Helpful Confederacy. The rules of the form are applied by composers of individual songs. Two singers recite nonsensical words and sounds, while the music is played on a begu and two tubu. The entire performance should feel mournful.
Each singer always does the main melody.
The begu always does the main melody.
Each tubu always does the main melody.
The form has a well-defined multi-passage structure: a brief introduction, a brief passage and an additional brief passage possibly all repeated, a brief finale and a brief coda.
The introduction slows and broadens, and it is to be in whispered undertones. The passage is performed using the lastta scale and in free rhythm.
The first simple passage is extremely fast, and it is to be in whispered undertones. The passage is performed using the nek scale and in the agthreb rhythm. The passage should be composed and performed using grace notes.
The second simple passage gradually slows as it comes to an end, and it is to be loud. The passage is performed using the ramet scale and in the eman rhythm.
The finale is moderately paced, and it is to be loud. The passage is performed using the ozi scale and in the kes rhythm.
The coda is half the tempo of the last passage, and it is to be in whispered undertones. The passage is performed using the lastta scale and in the seggu rhythm.
Scales are conceived of as two chords built using a division of the perfect fourth interval into eleven notes. The tonic note is a fixed tone passed from teacher to student.
As always, the lastta hexatonic scale is thought of as two disjoint chords drawn from the fundamental division of the perfect fourth. These chords are named use and dik.
The use trichord is the 1st, the 4th and the 11th degrees of the fundamental perfect fourth division.
The dik tetrachord is the 1st, the 2nd, the 8th and the 11th degrees of the fundamental perfect fourth division.
As always, the nek hexatonic scale is thought of as two disjoint chords drawn from the fundamental division of the perfect fourth. These chords are named ilpi and othag.
The ilpi trichord is the 1st, the 5th and the 11th degrees of the fundamental perfect fourth division.
The othag tetrachord is the 1st, the 4th, the 6th and the 11th degrees of the fundamental perfect fourth division.
As always, the ramet heptatonic scale is thought of as two disjoint chords drawn from the fundamental division of the perfect fourth. These chords are named agtha and woge.
The agtha tetrachord is the 1st, the 4th, the 8th and the 11th degrees of the fundamental perfect fourth division.
The woge tetrachord is the 1st, the 7th, the 8th and the 11th degrees of the fundamental perfect fourth division.
As always, the ozi hexatonic scale is thought of as two disjoint chords drawn from the fundamental division of the perfect fourth. These chords are named ilpi and woge.
The agthreb rhythm is made from two patterns: the shato (considered the primary) and the musda. The patterns are to be played over the same period of time, concluding together regardless of beat number.
The shato rhythm is a single line with twenty-eight beats divided into seven bars in a 4-4-4-4-4-4-4 pattern. The beats are named almef (spoken alm), onod (on), osp (osp) and arin (ar). The beat is stressed as follows:
| x x x X | x - - - | x x x X | - x - x | - - x`- | x !`x - | x - - - |
where ! marks the primary accent, X marks an accented beat, ` marks a beat as early, x is a beat, - is silent and | indicates a bar.
The musda rhythm is a single line with two beats. The beats are named uzu (spoken uz) and onaf (on). The beat is stressed as follows:
| x'x |
where ' marks a beat as late, x is a beat and | indicates a bar.
The eman rhythm is made from two patterns: the ani (considered the primary) and the ohe. The patterns are to be played over the same period of time, concluding together regardless of beat number.
The ani rhythm is a single line with two beats. The beat is stressed as follows:
| - x |
where x is a beat, - is silent and | indicates a bar.
The ohe rhythm is a single line with thirty-two beats divided into four bars in a 8-8-8-8 pattern. The beat is stressed as follows:
| - - - - - x x - | - - - - - x - - | - x`- - - - - - | - x - - - - x X |
where X marks an accented beat, ` marks a beat as early, x is a beat, - is silent and | indicates a bar.
The kes rhythm is a single line with eight beats divided into four bars in a 2-2-2-2 pattern. The beats are named suku (spoken su) and rorec (ro). The beat is stressed as follows:
| - x | - x | x x | x x'|
where ' marks a beat as late, x is a beat, - is silent and | indicates a bar.
The seggu rhythm is made from two patterns: the ohe and the rostfen.
The rostfen rhythm is a single line with thirty-two beats divided into four bars in a 8-8-8-8 pattern. The beat is stressed as follows:
| - - - x'- x'- !`| - x`- - - - - - | - X x x - - x`- | - X x'- - x x x |
where ! marks the primary accent, X marks an accented beat, ` marks a beat as early, ' marks a beat as late, x is a beat, - is silent and | indicates a bar.