The Carefree Harmony

The Carefree Harmony is a devotional form of music directed toward the worship of Cenemo the Nonchalant originating in The Conglomerate of Hamlets. The form guides musicians during improvised performances. A chanter recites any composition of The Scepticism of Imparting while the music is played on a vuc. The musical voices join in melody, counterpoint and harmony. The entire performance is to fade into silence. The melody and counterpoint both have phrases of varied length throughout the form. The music repeats for as long as necessary. It is performed using the sorot scale and in the siv rhythm. Throughout, when possible, performers are to make trills, play arpeggios and play staccato.

• The chanter always should perform expressively.
• The vuc always should perform sweetly.
• The Carefree Harmony has a well-defined multi-passage structure: an introduction, a passage and an additional passage and a coda.
• The introduction is voiced by the melody of the vuc and the harmony of the chanter. The passage is slow. The vuc ranges from the wispy middle register to the rippling top register and the chanter's voice ranges from the low register to the middle register. Only one pitch is ever played at a time in this passage.
• The first simple passage is voiced by the melody of the chanter and the counterpoint of the vuc. The passage is slow. The chanter's voice ranges from the low register to the middle register and the vuc is confined to the rippling top register. Chords are packed close together in dense clusters in this passage.
• The second simple passage is voiced by the melody of the chanter and the melody of the vuc. The passage is twice the tempo of the last passage. The chanter's voice ranges from the middle register to the high register and the vuc ranges from the strident low register to the wispy middle register. This passage typically has some sparse chords.
• The coda is voiced by the melody of the chanter. The passage is very slow. The chanter's voice stays in the high register. Only one pitch is ever played at a time in this passage.
• 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. After a scale is constructed, the root note of chords are named. The names are pumdom (spoken pu) and dos (do).
• As always, the sorot heptatonic scale is thought of as two disjoint chords drawn from the fundamental division of the perfect fourth. These chords are named oxuskor and oruslumcopo.
• The oxuskor tetrachord is the 1st, the 4th, the 8th and the 11th degrees of the fundamental perfect fourth division.
• The oruslumcopo tetrachord is the 1st, the 4th, the 6th and the 11th degrees of the fundamental perfect fourth division.
• The siv rhythm is made from two patterns: the ujel (considered the primary) and the naccak.
• The ujel rhythm is a single line with two beats. The beats are named bushcirne (spoken bu) and emsor (ems). The beat is stressed as follows:
• | x - |
• where x is a beat, - is silent and | indicates a bar.
• The naccak rhythm is a single line with two beats. The beats are named vishages (spoken vi) and kungujith (ku). The beat is stressed as follows:
• | x - |
• where x is a beat, - is silent and | indicates a bar.

Events