The Chivalrous Kindnesses

The Chivalrous Kindnesses is a devotional form of music directed toward the worship of Efentamton originating in The Polish of Choirs. The form guides musicians during improvised performances. A singer recites The Intentional Pear. The entire performance is to start loud then be immediately soft. The melody has long phrases throughout the form. Only one pitch is ever played at a time. It is performed using the ozisash scale and in the segultumagul rhythm. Throughout, when possible, performers are to play rapid runs.

• The singer always does the main melody.
• The Chivalrous Kindnesses has a well-defined multi-passage structure: a lengthy passage and an additional passage possibly all repeated and a finale.
• The first simple passage should be made with skill and is very fast. The singer's voice ranges from the middle register to the high register.
• The second simple passage should feel mysterious and is at a hurried pace. The singer's voice ranges from the middle register to the high register.
• The finale should be fiery and is consistently slowing. The singer's voice ranges from the low register to the middle register.
• 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 ozisash heptatonic scale is thought of as two disjoint chords drawn from the fundamental division of the perfect fourth. These chords are named un and mudesod.
• The un tetrachord is the 1st, the 4th, the 6th and the 8th degrees of the fundamental perfect fourth division.
• The mudesod tetrachord is the 1st, the 3rd, the 5th and the 8th degrees of the fundamental perfect fourth division.
• The segultumagul rhythm is made from two patterns: the tigir and the rilgush. The patterns are to be played over the same period of time, concluding together regardless of beat number.
• The tigir rhythm is a single line with four beats. The beats are named erith (spoken er), binmonor (bi), gubolil (gu) and tethan (te). The beat is stressed as follows:
• | X x x x |
• where X marks an accented beat, x is a beat and | indicates a bar.
• The rilgush rhythm is a single line with three beats. The beat is stressed as follows:
• | x x - |
• where x is a beat, - is silent and | indicates a bar.

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