The Flowery Bee

The Flowery Bee is a form of music used to commemorate important events originating in The Alone Bib. The rules of the form are applied by composers to produce individual pieces of music which can be performed. One to four chanters recite any composition of The Brainchild of Doubting while the music is played on a cegumat, a relodur and a arkot. The musical voices join in melody and counterpoint, harmony and rhythm. The entire performance should be passionate. The melody and counterpoint both have long phrases throughout the form. Pitches are densely packed in clusters as music moves from chord to chord. It is performed in the sak rhythm. Throughout, when possible, composers and performers are to use grace notes, make trills, locally improvise, add fills, alternate tension and repose, play arpeggios and spread syllables over many notes.

• The Flowery Bee has a well-defined multi-passage structure: a lengthy verse and a chorus all repeated one times, a bridge-passage and a verse and a chorus.
• The first verse is voiced by the melody of the cegumat, the melody of the arkot, the counterpoint of the chanters and the harmony of the relodur. The passage is moderately fast, and it is to become softer and softer. Each of the chanters' voices ranges from the low register to the middle register and the relodur stays in the watery low register. The passage is performed using the anon scale. The passage should often include a rising melody pattern with sharpened fourth degree as well as glides, mordents, rapid runs and staccato and often include a falling-rising melody pattern with staccato.
• The first chorus is voiced by the melody of the chanters, the rhythm of the cegumat, the rhythm of the relodur and the rhythm of the arkot. The passage slows and broadens, and it is to become softer and softer. Each of the chanters' voices stays in the middle register and the relodur stays in the muddy high register. The passage is performed without preference for a scale.
• The bridge-passage is voiced by the melody of the chanters, the melody of the cegumat and the counterpoint of the relodur. The passage is at a walking pace, and it is to start loud then be immediately soft. Each of the chanters' voices stays in the high register and the relodur stays in the watery low register. The passage is performed using the ozisash scale. The passage should always include a rising-falling melody pattern, sometimes include a falling-rising melody pattern with sharpened fourth degree on the rise, flattened second degree on the fall and flattened fifth degree on the fall as well as glides and sometimes include a falling melody pattern.
• The second verse is voiced by the melody of the cegumat, the melody of the arkot and the rhythm of the chanters. The passage is moderately fast, and it is to start loud then be immediately soft. Each of the chanters' voices stays in the middle register. The passage is performed without preference for a scale.
• The second chorus is voiced by the melody of the cegumat, the melody of the relodur, the counterpoint of the chanters and the harmony of the arkot. The passage gradually slows as it comes to an end, and it is to be moderately soft. The relodur covers its entire range from the watery low register to the muddy high register and each of the chanters' voices stays in the middle register. The passage is performed using the toker scale. The passage should always include a falling-rising melody pattern with sharpened second degree on the fall as well as rapid runs.
• Scales are conceived of as two chords built using a division of the perfect fourth interval into eleven notes. The tonic note is fixed only at the time of performance.
• As always, the anon heptatonic scale is thought of as two disjoint chords drawn from the fundamental division of the perfect fourth. These chords are named un and stat.
• The un tetrachord is the 1st, the 3rd, the 9th and the 11th degrees of the fundamental perfect fourth division.
• The stat tetrachord is the 1st, the 3rd, the 7th and the 11th degrees of the fundamental perfect fourth division.
• As always, the ozisash heptatonic scale is thought of as two disjoint chords drawn from the fundamental division of the perfect fourth. These chords are named vallal and stat.
• The vallal tetrachord is the 1st, the 5th, the 10th and the 11th degrees of the fundamental perfect fourth division.
• As always, the toker heptatonic scale is thought of as two disjoint chords drawn from the fundamental division of the perfect fourth. These chords are named kam and afonan.
• The kam tetrachord is the 1st, the 5th, the 9th and the 11th degrees of the fundamental perfect fourth division.
• The afonan tetrachord is the 1st, the 4th, the 8th and the 11th degrees of the fundamental perfect fourth division.
• The sak rhythm is a single line with eight beats. The beats are named odulimozsen (spoken od), nebulursed (ne), rokul (ro), elomamar (el), sek (se), ibmas (ib), ster (ste) and ozlomig (oz). 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.

Events