The Satyric Ginkgo-Seeds

The Satyric Ginkgo-seeds is a form of music used to commemorate important events originating in The Civilian Nettles. The form guides musicians during improvised performances. Two speakers recite any composition of The Lynx of Bentgrass while the music is played on two asane and a ewera. The musical voices bring melody with harmony. The entire performance is at a walking pace. The melody has mid-length phrases throughout the form. It is performed in free rhythm. Throughout, when possible, performers are to alternate tension and repose.

• Each asane always does the main melody.
• The ewera always does harmony.
• The Satyric Ginkgo-seeds has a well-defined multi-passage structure: a theme, a bridge-passage and a series of variations on the theme.
• The theme should feel mysterious, and it is to be loud. The ewera covers its entire range from the resonant low register to the dull high register. Chords are packed close together in dense clusters in this passage. The passage is performed using the ezococa scale.
• The bridge-passage should be melancholic, and it is to be soft. The ewera covers its entire range from the resonant low register to the dull high register. Only one pitch is ever played at a time in this passage. The passage is performed using the ebecari scale.
• The series of variations should feel heroic, and it is to be loud. The ewera stays in the dull high register. This passage typically has some sparse chords. The passage is performed using the mila scale. The passage should be performed using trills.
• 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 ezococa heptatonic scale is thought of as two disjoint chords spanning two perfect fourths. These chords are named ucame and umamalu.
• The ucame tetrachord is the 1st, the 4th, the 6th and the 11th degrees of the quartertone octave scale.
• The umamalu tetrachord is the 15th, the 18th, the 22nd and the 25th (completing the octave) degrees of the quartertone octave scale.
• The ebecari heptatonic scale is thought of as two disjoint chords spanning two perfect fourths. These chords are named ucame and bone.
• The bone tetrachord is the 15th, the 16th, the 20th and the 25th (completing the octave) degrees of the quartertone octave scale.
• The mila heptatonic scale is thought of as two disjoint chords spanning two perfect fourths. These chords are named ucame and izeli.
• The izeli tetrachord is the 15th, the 19th, the 24th and the 25th (completing the octave) degrees of the quartertone octave scale.

Events