The Jammy Anthem

The Jammy Anthem is a form of music used to commemorate important events originating in The Indispensable Tubes. The form guides musicians during improvised performances. A singer recites any composition of The Milk-Opal Tar while the music is played on a oril. The musical voices bring melody, counterpoint and rhythm. The melody and counterpoint both have short phrases throughout the form. The music repeats for as long as necessary. It is performed using the madensham scale. Throughout, when possible, performers are to add fills, alternate tension and repose and spread syllables over many notes.

• The singer always should perform expressively.
• The oril always should be fiery.
• The Jammy Anthem has a well-defined multi-passage structure: an introduction, a brief theme, an exposition of the theme, a bridge-passage and a recapitulation of the theme.
• The introduction is voiced by the melody of the singer and the rhythm of the oril. The passage is moderately fast, and it is to start loud then be immediately soft. The singer's voice ranges from the middle register to the high register and the oril ranges from the raucous high register to the quavering top register. This passage typically has some sparse chords. The passage is performed in the muzlom rhythm.
• The theme is voiced by the melody of the singer and the counterpoint of the oril. The passage is at a walking pace, and it is to be very loud. The singer's voice covers its entire range and the oril is confined to the muddy low register. Chords are packed close together in dense clusters in this passage. The passage is performed in the binmonor rhythm.
• The exposition is voiced by the melody of the oril. The passage is at a walking pace, and it is to fade into silence. The oril ranges from the brittle middle register to the quavering top register. This passage typically has some sparse chords. The passage is performed in free rhythm.
• The bridge-passage is voiced by the melody of the oril. The passage accelerates as it proceeds, and it is to be very soft. The oril ranges from the brittle middle register to the quavering top register. This passage features only melodic tones and intervals. The passage is performed in free rhythm.
• The recapitulation is voiced by the melody of the oril. The passage is at a free tempo, and it is to fade into silence. The oril ranges from the raucous high register to the quavering top register. This passage features only melodic tones and intervals. The passage is performed in free rhythm.
• Scales are conceived of as two chords built using a division of the perfect fourth interval into eight notes. The tonic note is a fixed tone passed from teacher to student.
• As always, the madensham hexatonic scale is thought of as two disjoint chords drawn from the fundamental division of the perfect fourth. These chords are named vallal and afonan.
• The vallal tetrachord is the 1st, the 2nd, the 7th and the 8th degrees of the fundamental perfect fourth division.
• The afonan trichord is the 1st, the 5th and the 8th degrees of the fundamental perfect fourth division.
• The muzlom rhythm is a single line with four beats divided into two bars in a 2-2 pattern. The beat is stressed as follows:
• | - x | x x |
• where x is a beat, - is silent and | indicates a bar.
• The binmonor rhythm is made from two patterns: the muzlom (considered the primary) and the sek. The patterns are to be played over the same period of time, concluding together regardless of beat number.
• The sek rhythm is a single line with eight beats divided into four bars in a 2-2-2-2 pattern. The beats are named ibmas (spoken ib) and ster (ste). The beat is stressed as follows:
• | x'- | x'- | x - | - x`|
• where ` marks a beat as early, ' marks a beat as late, x is a beat, - is silent and | indicates a bar.

Events