The Native-Silver Accessory

The Native-silver Accessory is a devotional form of music directed toward the worship of Ecbethudu the Regulation of Manufacturing originating in The Grand Confederations. The rules of the form are applied by composers to produce individual pieces of music which can be performed. A chanter recites nonsensical words and sounds while the music is played on two shmad and a smotek. The musical voices cover melody, harmony and rhythm. The entire performance accelerates as it proceeds, and it is to be loud. The melody has short phrases throughout the form. It is performed without preference for a scale and in the pumdom rhythm. Throughout, when possible, composers and performers are to syncopate.

• The chanter always should be bright.
• Each shmad always should feel mysterious.
• The smotek always should sparkle and plays arpeggios. The voice stays in the raucous high register.
• The Native-silver Accessory has a well-defined multi-passage structure: a theme, a bridge-passage and a series of variations on the theme possibly all repeated.
• The theme is voiced by the melody of the shmad, the melody of the smotek and the rhythm of the chanter reciting any composition of The Totemic Cardinals. Each of the shmad stays in the muddy high register, the smotek stays in the raucous high register and the chanter's voice covers its entire range. Only one pitch is ever played at a time in this passage.
• The bridge-passage is voiced by the melody of the chanter reciting any composition of The Morality of Rights and the melody of the shmad. The chanter's voice stays in the high register and each of the shmad ranges from the eerie middle register to the muddy high register. This passage features only melodic tones and intervals.
• The series of variations is voiced by the melody of the chanter reciting nonsensical words and sounds and the harmony of the shmad. The chanter's voice stays in the low register and each of the shmad ranges from the eerie middle register to the muddy high register. Only one pitch is ever played at a time in this passage.
• The pumdom rhythm is a single line with eight beats divided into four bars in a 2-2-2-2 pattern. The beat is stressed as follows:
• | x x | x - | x x | x x |
• where x is a beat, - is silent and | indicates a bar.

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