The Nectarous Floret

The Nectarous Floret is a devotional form of music originating in The Civilian Nettles. The form guides musicians during improvised performances. A speaker recites nonsensical words and sounds while the music is played on a ewera, a aritheyini and a asane. The musical voices join in melody, counterpoint and harmony. The melody has mid-length phrases, while the counterpoint has phrases of varied length throughout the form. It is performed using the mila scale and in the sori rhythm. Throughout, when possible, performers are to modulate frequently.

• The aritheyini always does the main melody. The voice uses its entire range from the slicing low register to the strained high register.
• The Nectarous Floret has a well-defined multi-passage structure: a passage and another one to two passages and a coda.
• The first simple passage is voiced by the melody of the aritheyini, the counterpoint of the ewera and the speaker reciting any composition of The Subjectivity of Misinterpreting. The passage should be made expressively and slows and broadens, and it is to become softer and softer. The aritheyini covers its entire range from the slicing low register to the strained high register and the ewera stays in the resonant low register. Chords are packed close together in dense clusters in this passage.
• Each of the second simple passages is voiced by the melody of the aritheyini, the melody of the asane and the speaker reciting nonsensical words and sounds. Each passage should feel playful and is at a free tempo, and it is to be loud. The aritheyini covers its entire range from the slicing low register to the strained high register. Only one pitch is ever played at a time in this passage.
• The coda is voiced by the melody of the ewera, the melody of the aritheyini, the harmony of the asane and the speaker reciting any composition of The Lynx of Bentgrass. The passage should be lively and is twice the tempo of the last passage, and it is to start loud then be immediately soft. The ewera covers its entire range from the resonant low register to the dull high register and the aritheyini covers its entire range from the slicing low register to the strained high register. Chords are packed close together in dense clusters in this passage.
• Scales are constructed from twenty-four notes spaced evenly throughout the octave. The tonic note is a fixed tone passed from teacher to student.
• The mila heptatonic scale is thought of as two disjoint chords spanning two perfect fourths. These chords are named ucame and izeli.
• The ucame tetrachord is the 1st, the 4th, the 6th and the 11th degrees of the quartertone octave scale.
• The izeli tetrachord is the 15th, the 19th, the 24th and the 25th (completing the octave) degrees of the quartertone octave scale.
• The sori rhythm is made from two patterns: the fefa (considered the primary) and the uwame. The patterns are to be played over the same period of time, concluding together regardless of beat number.
• The fefa rhythm is a single line with twenty-eight beats divided into four bars in a 7-7-7-7 pattern. The beats are named oquino (spoken oq), kecace (ke), the (the), teze (te), oyathu (oy), slutha (slu) and yalona (ya). The beat is stressed as follows:
• | x x - x x x x | - x x x x'x x | x - - x x x - | - - - - x'x x |
• where ' marks a beat as late, x is a beat, - is silent and | indicates a bar.
• The uwame rhythm is a single line with sixteen beats divided into four bars in a 4-4-4-4 pattern. The beats are named cucecuse (spoken cu), cowe (co), fi (fi) and acimedewe (ac). The beat is stressed as follows:
• | - - - x | x x - - | - - x x'| - - x - |
• where ' marks a beat as late, x is a beat, - is silent and | indicates a bar.

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