The Chronicle of Archetypes

The Chronicle of Archetypes is a devotional form of music directed toward the worship of Idorulem originating in The Lawmaker of Peanuts. The rules of the form are applied by composers to produce individual pieces of music which can be performed. The music is played on a os, a ersoruni, a xahdessablos and a quislerocu. The musical voices cover melody, harmony and rhythm. The entire performance is to fade into silence. The melody has mid-length phrases throughout the form. It is performed in free rhythm. Throughout, when possible, composers and performers are to play legato.

• The os always does harmony and should be spirited.
• The ersoruni always provides the rhythm and should be delicate.
• The xahdessablos always does the main melody and should feel tender.
• The quislerocu always provides the rhythm and should be graceful.
• The Chronicle of Archetypes has a well-defined multi-passage structure: a passage and another one to two lengthy passages, a bridge-passage and a finale.
• The first simple passage is at a hurried pace. The xahdessablos stays in the delicate middle register, the os ranges from the fragile low register to the slicing middle register and the ersoruni stays in the slicing high register. This passage typically has some sparse chords. The passage is performed using the ujel scale.
• Each of the second simple passages is very slow. The xahdessablos stays in the delicate middle register, the os ranges from the slicing middle register to the rugged high register and the ersoruni stays in the slicing high register. Chords are packed close together in dense clusters in this passage. Each passage is performed using the xathrato scale.
• The bridge-passage is moderately paced. The xahdessablos ranges from the delicate middle register to the piercing high register, the os ranges from the slicing middle register to the rugged high register and the ersoruni stays in the wispy low register. Chords are packed close together in dense clusters in this passage. The passage is performed using the shudash scale.
• The finale is extremely fast. The xahdessablos ranges from the delicate middle register to the piercing high register, the os ranges from the slicing middle register to the rugged high register and the ersoruni stays in the slicing high register. Chords are packed close together in dense clusters in this passage. The passage is performed using the bushcirne scale.
• Scales are constructed from twelve notes spaced evenly throughout the octave. The tonic note is a fixed tone passed from teacher to student.
• The ujel pentatonic scale is thought of as two disjoint chords spanning a perfect fifth and a major third. These chords are named ohural and uwakri.
• The ohural trichord is the 1st, the 5th and the 8th degrees of the semitone octave scale.
• The uwakri trichord is the 9th, the 11th and the 13th (completing the octave) degrees of the semitone octave scale.
• The xathrato hexatonic scale is thought of as two disjoint chords spanning two perfect fourths. These chords are named pethrebinpu and uthrogumat.
• The pethrebinpu trichord is the 1st, the 4th and the 6th degrees of the semitone octave scale.
• The uthrogumat tetrachord is the 8th, the 9th, the 10th and the 13th (completing the octave) degrees of the semitone octave scale.
• The shudash pentatonic scale is thought of as two disjoint chords spanning a perfect fifth and a major third. These chords are named ohural and iquur.
• The iquur trichord is the 9th, the 12th and the 13th (completing the octave) degrees of the semitone octave scale.
• The bushcirne pentatonic scale is thought of as two disjoint chords spanning two perfect fourths. These chords are named furithali and pumdom.
• The furithali trichord is the 1st, the 3rd and the 6th degrees of the semitone octave scale.
• The pumdom trichord is the 8th, the 12th and the 13th (completing the octave) degrees of the semitone octave scale.

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