The Wraparound Armor

The Wraparound Armor is a devotional form of music directed toward the worship of Guster Savegauntlet the Turreted Salvage originating in The Polish of Choirs. The rules of the form are applied by composers to produce individual pieces of music which can be performed. The music is played on two lukon. The entire performance should feel mournful and is fast, and it is to be soft. The melody has short phrases throughout the form. Only one pitch is ever played at a time. It is performed using the rekom scale and in the orramoth rhythm. Throughout, when possible, composers and performers are to alternate tension and repose.

• Each lukon always does the main melody.
• The Wraparound Armor has a well-defined multi-passage structure: an introduction and a passage and another one to two lengthy passages.
• In the introduction, each of the lukon stays in the strident low register.
• In the first simple passage, each of the lukon covers its entire range from the strident low register to the buzzy high register.
• In each of the second simple passages, each of the lukon covers its entire range from the strident low register to the buzzy high register. Each passage should be composed and performed using mordents.
• 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 rekom hexatonic scale is thought of as two disjoint chords drawn from the fundamental division of the perfect fourth. These chords are named vallal and febamus.
• The vallal tetrachord is the 1st, the 4th, the 5th and the 8th degrees of the fundamental perfect fourth division.
• The febamus trichord is the 1st, the 2nd and the 8th degrees of the fundamental perfect fourth division.
• The orramoth rhythm is made from three patterns: the afiddun, the ozol and the muzlom. The patterns are to be played over the same period of time, concluding together regardless of beat number.
• The afiddun rhythm is a single line with four beats. The beat is stressed as follows:
• | - - - x |
• where x is a beat, - is silent and | indicates a bar.
• The ozol rhythm is a single line with five beats. The beats are named mer (spoken me), zulal (zu), kistek (ki), lesul (le) and sak (sa). The beat is stressed as follows:
• | x - - x - |
• where x is a beat, - is silent and | indicates a bar.
• The muzlom rhythm is a single line with four beats. The beat is stressed as follows:
• | x - - - |
• where x is a beat, - is silent and | indicates a bar.

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