The Slim Proportion

The Slim Proportion is a devotional form of music directed toward the worship of Makam Equableequilibriums the Tepid Dance-Scale originating in The Banded Funnel. The rules of the form are applied by composers to produce individual pieces of music which can be performed. A singer recites any composition of The Revisory Petal. The entire performance should be bright, 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 ozisash scale and in the sushet rhythm. Throughout, when possible, composers and performers are to play rapid runs and locally improvise. From beginning to end, when improvising or composing, artists should sometimes include a falling-rising melody pattern with flattened fourth degree on the rise, flattened fifth degree on the rise and flattened second degree on the fall as well as trills.

• The singer always does the main melody.
• The Slim Proportion has the following structure: a brief introduction and three to five unrelated passages.
• The introduction is moderately fast. The singer's voice ranges from the middle register to the high register.
• Each of the simple passages is moderately paced. The singer's voice ranges from the low register to the middle register.
• Scales are constructed from twelve notes spaced evenly throughout the octave. The tonic note is a fixed tone passed from teacher to student. Every note is named. The names are tamosh (spoken ta), muzlom (mu), ozol (oz), mer (me), zulal (zu), kistek (ki), lesul (le), sak (sa), odulimozsen (od), nebulursed (ne), rokul (ro) and elomamar (el).
• The ozisash pentatonic scale is thought of as two disjoint chords spanning a tritone and a perfect fourth. These chords are named vallal and tinos.
• The vallal trichord is the 1st, the 6th and the 7th degrees of the semitone octave scale.
• The tinos trichord is the 8th, the 9th and the 13th (completing the octave) degrees of the semitone octave scale.
• The sushet rhythm is made from two patterns: the ibmas and the ster. The patterns are to be played in the same beat, allowing one to repeat before the other is concluded.
• The ibmas rhythm is a single line with three beats. The beat is stressed as follows:
• | x x X |
• where X marks an accented beat, x is a beat and | indicates a bar.
• The ster rhythm is a single line with thirty-two beats divided into six bars in a 5-5-5-7-5-5 pattern. The beat is stressed as follows:
• | x X - x - | - x X x'- | X x - x x | - x x - - - - | - x - x - | x - X'x - |
• where X marks an accented beat, ' marks a beat as late, x is a beat, - is silent and | indicates a bar.

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