The Rhythmic Wreaths

The Rhythmic Wreaths is a form of music used for entertainment originating in The Coati of Shedding. The rules of the form are applied by composers to produce individual pieces of music which can be performed. The music is played on three eslepiwemu and a apanamu. The musical voices are joined in melody. The entire performance should be delicate. The melody has mid-length phrases throughout the form. It is performed using the mila scale and in free rhythm. Throughout, when possible, composers and performers are to use grace notes and locally improvise.

• Each eslepiwemu always does the main melody. The voice uses its entire range from the heavy low register to the raspy high register. The floating voice uses its entire range.
• The Rhythmic Wreaths has the following structure: one to two passages and another one to two passages.
• Each of the first simple passages is voiced by the melody of the eslepiwemu and the melody of the apanamu. Each passage is very fast, and it is to be very loud. This passage typically has some sparse chords. Each passage should often include a falling-rising melody pattern with sharpened sixth degree on the fall as well as mordents, arpeggios and legato and often include a rising-falling melody pattern with sharpened sixth degree on the fall as well as glides and legato.
• Each of the second simple passages is voiced by the melody of the eslepiwemu. Each passage is consistently slowing, and it is to be moderately loud. Only one pitch is ever played at a time in this passage. Each passage should sometimes include a falling melody pattern with mordents and staccato, sometimes include a rising melody pattern with arpeggios, always include a falling-rising melody pattern with sharpened fourth degree on the rise as well as staccato and sometimes include a rising-falling melody pattern with flattened fifth degree on the fall as well as rapid runs.
• Scales are constructed from twenty-four notes spaced evenly throughout the octave. The tonic note is fixed only at the time of performance.
• The mila hexatonic scale is thought of as two disjoint chords spanning two perfect fourths. These chords are named ucame and emayethi.
• The ucame trichord is the 1st, the 8th and the 11th degrees of the quartertone octave scale.
• The emayethi tetrachord is the 15th, the 19th, the 21st and the 25th (completing the octave) degrees of the quartertone octave scale.

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