The Einkorn-Grain of Desert-Limes
The Einkorn-grain of Desert-limes is a devotional form of music originally devised by the mer Efaya Leopard-Sealquery. The form guides musicians during improvised performances. A singer recites nonsensical words and sounds while the music is played on a izocithe and three oborowe. The musical voices bring melody with harmony. The entire performance is to fade into silence. The melody has short phrases throughout the form. The music repeats for as long as necessary. It is performed using the ipila scale and in free rhythm. Throughout, when possible, performers are to locally improvise.
- The singer always does harmony and should be fiery.
- The izocithe always does the main melody and should feel mysterious.
- Each oborowe always does harmony and should bring a sense of motion.
- The Einkorn-grain of Desert-limes has a well-defined multi-passage structure: a lengthy theme, an exposition of the theme, a bridge-passage and a recapitulation of the theme.
- The theme is very fast. The izocithe ranges from the wispy low register to the strident middle register and the singer's voice stays in the middle register. Only one pitch is ever played at a time in this passage. The passage should often include a falling-rising melody pattern with flattened fourth degree on the fall as well as staccato, often include a rising-falling melody pattern with mordents, arpeggios and staccato and always include a falling melody pattern with trills and rapid runs.
- The exposition slows and broadens. The izocithe stays in the strident middle register and the singer's voice ranges from the middle register to the high register. This passage typically has some sparse chords. The passage should sometimes include a rising melody pattern with staccato and sometimes include a rising-falling melody pattern with flattened third degree on the rise as well as mordents and legato.
- The bridge-passage is at a hurried pace. The izocithe covers its entire range from the wispy low register to the sparkling high register and the singer's voice stays in the middle register. This passage features only melodic tones and intervals. The passage should sometimes include a falling-rising melody pattern with sharpened third degree on the rise as well as staccato, always include a rising-falling melody pattern with flattened fourth degree on the fall, flattened third degree on the fall and flattened second degree on the fall and often include a falling melody pattern.
- The recapitulation is very slow. The izocithe covers its entire range from the wispy low register to the sparkling high register and the singer's voice stays in the low register. This passage typically has some sparse chords. The passage should sometimes include a rising melody pattern with grace notes and staccato, sometimes include a falling melody pattern and often include a rising-falling melody pattern with flattened fifth degree on the fall as well as glides.
- Scales are constructed from twenty-two notes dividing the octave. In quartertones, their spacing is roughly 1xxxxxxx-xxx-xxxxxxxxxxxO, where 1 is the tonic, O marks the octave and x marks other notes. The tonic note is fixed only at the time of performance.
- The ipila pentatonic scale is constructed by selection of degrees from the fundamental scale. The degrees selected are the 1st, the 5th, the 10th, the 17th and the 21st.
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