The Graniferous Finger-Lime

The Graniferous Finger-lime is a devotional form of music originating in The Indispensable Tubes. The rules of the form are applied by composers to produce individual pieces of music which can be performed. A chanter recites any composition of The Recall of Periwinkles while the music is played on a lidth, two ethishil and a ashag. The musical voices join in melody, counterpoint and harmony. The entire performance should be made with feeling, and it is to be moderately loud. The melody has mid-length phrases, while the counterpoint has phrases of varied length throughout the form. Pitches are densely packed in clusters as music moves from chord to chord. It is performed using the liloran scale and in free rhythm. Throughout, when possible, composers and performers are to alternate tension and repose.

• The chanter always does harmony.
• The lidth always does the main melody.
• Each ethishil always does the counterpoint melody.
• The ashag always does harmony.
• The Graniferous Finger-lime has a well-defined multi-passage structure: an introduction, three to five unrelated passages and a coda.
• The introduction is very slow. The lidth covers its entire range from the fragile low register to the muddy top register, each of the ethishil stays in the liquid low register, the chanter's voice ranges from the low register to the middle register and the ashag covers its entire range. The passage should be composed and performed using staccato.
• Each of the simple passages is consistently slowing. The lidth ranges from the fragile low register to the sparkling middle register, each of the ethishil covers its entire range from the liquid low register to the wispy high register, the chanter's voice ranges from the middle register to the high register and the ashag covers its entire range.
• The coda is at a hurried pace. The lidth ranges from the fragile low register to the wispy high register, each of the ethishil stays in the dark middle register, the chanter's voice ranges from the middle register to the high register and the ashag stays in the dull low register.
• 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 liloran hexatonic scale is thought of as two disjoint chords drawn from the fundamental division of the perfect fourth. These chords are named un and tinos.
• The un tetrachord is the 1st, the 2nd, the 3rd and the 8th degrees of the fundamental perfect fourth division.
• The tinos trichord is the 1st, the 3rd and the 8th degrees of the fundamental perfect fourth division.

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