The Satyric Flour

The Satyric Flour is a form of music used during marches and military engagements originating in The Doorstop of Spiny-Dogfishes. The rules of the form are applied by composers to produce individual pieces of music which can be performed. The music is played on a fath and two ishosel. The music is melody and rhythm without harmony. The entire performance is extremely fast. The melody has short phrases throughout the form. It is performed using the kam scale and in the odulimozsen rhythm. Throughout, when possible, composers and performers are to use mordents, make trills, alternate tension and repose and play staccato.

• The fath always does the main melody and should perform with feeling.
• Each ishosel always provides the rhythm and should evoke tears.
• The Satyric Flour has a well-defined multi-passage structure: an introduction and a verse and a chorus all repeated one to two times.
• The introduction is to become softer and softer. The fath ranges from the strained middle register to the wavering high register and each of the ishosel ranges from the strident low register to the raspy middle register. Chords are packed close together in dense clusters in this passage.
• The verse is to become louder and louder. The fath stays in the rich low register and each of the ishosel ranges from the raspy middle register to the nasal high register. This passage features only melodic tones and intervals.
• The chorus is to be very soft. The fath ranges from the strained middle register to the wavering high register and each of the ishosel ranges from the strident low register to the raspy middle register. This passage features only melodic tones and intervals.
• Scales are constructed from fourteen notes dividing the octave. In quartertones, their spacing is roughly 1-x-x-x-x-xx-xx-x-xx-x-xO, 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. After a scale is constructed, notes are named according to degree. The names are vazast (spoken va), mudesod (mu), liloran (li), toker (to), madensham (ma), imkekir (imk) and rekom (re).
• The kam pentatonic scale is constructed by selection of degrees from the fundamental scale. The degrees selected are the 1st, the 4th, the 7th, the 11th and the 13th.
• The odulimozsen rhythm is made from two patterns: the tamosh and the ozisash. The patterns are to be played in the same beat, allowing one to repeat before the other is concluded.
• The tamosh rhythm is a single line with seven beats. The beat is stressed as follows:
• | - - - - - x - |
• where x is a beat, - is silent and | indicates a bar.
• The ozisash rhythm is a single line with eight beats. The beat is stressed as follows:
• | x - x'x`- - - - |
• where ` marks a beat as early, ' marks a beat as late, x is a beat, - is silent and | indicates a bar.

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