The Incenses of Rhyming
The Incenses of Rhyming is a form of music used during marches and military engagements originally devised by the dwarf Kulet Whippedraw. The form guides musicians during improvised performances. A speaker recites nonsensical words and sounds while the music is played on a ashok and a kadol. The music is melody and rhythm without harmony. The entire performance should be spirited and gradually slows as it comes to an end. The melody has mid-length phrases throughout the form. It is performed using the bemong scale. Throughout, when possible, performers are to play rapid runs, add fills and play arpeggios.
- The speaker always is to become softer and softer and plays staccato.
- The ashok always provides the rhythm, is to become louder and louder, syncopates and plays staccato.
- The kadol always does the main melody, is to be moderately soft and plays staccato.
- The Incenses of Rhyming has a well-defined multi-passage structure: an introduction, three unrelated passages, a lengthy finale and a coda.
- This passage is richly layered with full chords making use of the available range. The introduction is performed in free rhythm.
- Only one pitch is ever played at a time in this passage. Each of the simple passages is performed in the libash rhythm. Each passage should be performed using grace notes.
- Only one pitch is ever played at a time in this passage. The finale is performed in the ucat rhythm.
- This passage is richly layered with full chords making use of the available range. The coda is performed in the enir rhythm.
- Scales are constructed from twenty-four notes spaced evenly throughout the octave. The tonic note is a fixed tone passed from teacher to student. After a scale is constructed, the root note of chords are named. The names are feb (spoken fe) and berim (be).
- The bemong hexatonic scale is thought of as two disjoint chords spanning two perfect fourths. These chords are named nicol and mabdug.
- The nicol trichord is the 1st, the 3rd and the 11th degrees of the quartertone octave scale.
- The mabdug tetrachord is the 15th, the 18th, the 22nd and the 25th (completing the octave) degrees of the quartertone octave scale.
- The libash rhythm is a single line with two beats. The beats are named lakish (spoken la) and asdos (as). The beat is stressed as follows:
- | x - |
- where x is a beat, - is silent and | indicates a bar.
- The ucat rhythm is made from three patterns: the uvel (considered the primary), the ermis and the ibruk. The patterns are to be played over the same period of time, concluding together regardless of beat number.
- The uvel rhythm is a single line with thirty-two beats divided into six bars in a 3-4-8-5-6-6 pattern. The beat is stressed as follows:
- | x - x | X - x x | x - X x x - - - | - x x - - | - x - x - - | x - - - - - |
- where X marks an accented beat, x is a beat, - is silent and | indicates a bar.
- The ermis rhythm is a single line with sixteen beats divided into eight bars in a 2-2-2-2-2-2-2-2 pattern. The beat is stressed as follows:
- | x - | x - | - x | x x | x - | x - | - x | - x |
- where x is a beat, - is silent and | indicates a bar.
- The ibruk rhythm is a single line with thirty-two beats divided into four bars in a 5-8-10-9 pattern. The beat is stressed as follows:
- | - - - - x | - - x x x X - x | x - X - x x x - - - | X x - x - - x - x |
- where X marks an accented beat, x is a beat, - is silent and | indicates a bar.
- The enir rhythm is made from two patterns: the libash and the ibruk. The patterns are to be played over the same period of time, concluding together regardless of beat number.
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