The Vinous Lentil

The Vinous Lentil is a form of music used to commemorate important events originating in The Roguish Hierarchy. The form guides musicians during improvised performances. A singer recites any composition of The Pale-Brown of Ivory while the music is played on two popok, a diteq and a qate. The musical voices cover melody, harmony and rhythm. The entire performance is slow. It is performed using the uok scale. Throughout, when possible, performers are to locally improvise and match notes and syllables.

• The singer always does the main melody, should be spirited and plays arpeggios.
• Each popok always does the main melody, should bring a sense of motion and plays arpeggios.
• The diteq always does harmony and should be fiery.
• The qate always provides the rhythm and should feel mysterious. The rich voice uses its entire range.
• The Vinous Lentil has the following structure: an introduction and a passage.
• The introduction is to become softer and softer. The singer's voice ranges from the middle register to the high register, each of the popok stays in the wispy high register and the qate covers its entire range. The passage has phrases of varied length in the melody. This passage features only melodic tones and intervals. The passage is performed in free rhythm. The passage should be performed using rapid runs. The passage should always include a falling melody pattern with mordents and often include a rising-falling melody pattern.
• The simple passage is to be in whispered undertones. The singer's voice stays in the middle register, each of the popok stays in the fluid low register and the qate covers its entire range. The passage has long phrases in the melody. Only one pitch is ever played at a time in this passage. The passage is performed in the kiki rhythm. The passage should be performed using glides. The passage should often include a falling melody pattern with arpeggios and sometimes include a rising melody pattern with sharpened third degree as well as mordents, trills and staccato.
• Scales are constructed from twenty notes dividing the octave. In quartertones, their spacing is roughly 1-x-xxx-xxxxxxxx-xxxxxxxO, 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 uok hexatonic scale is constructed by selection of degrees from the fundamental scale. The degrees selected are the 1st, the 4th, the 6th, the 10th, the 12th and the 17th.
• The kiki rhythm is made from two patterns: the qada and the op. The patterns are to be played over the same period of time, concluding together regardless of beat number.
• The qada rhythm is a single line with two beats. The beats are named ked (spoken ke) and tipoa (ti). The beat is stressed as follows:
• | x - |
• where x is a beat, - is silent and | indicates a bar.
• The op rhythm is a single line with thirty-two beats divided into four bars in a 8-8-8-8 pattern. The beats are named fiepo (spoken fie), ezok (ez), qapoaq (qa), akoaz (ak), kidoi (ki), jed (je), dokot (do) and otep (ot). 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 |
• where x is a beat, - is silent and | indicates a bar.

Events