The Musics of Embracing

The Musics of Embracing is a form of music used for entertainment originating in The Pulley of Strategies. The rules of the form are applied by composers to produce individual pieces of music which can be performed. One to three speakers recite any composition of The Lute of Pantomimes while the music is played on two mishak. The musical voices are joined in melody. The melody has mid-length phrases throughout the form.

• Each mishak always does the main melody.
• The Musics of Embracing has the following structure: an introduction and three to five unrelated passages.
• The introduction should sparkle and is moderately paced, and it is to be soft. Each of the mishak ranges from the crisp middle register to the resonant top register. This passage is richly layered with full chords making use of the available range. The passage is performed using the gost scale and in free rhythm.
• Each of the simple passages should be forceful and slows and broadens, and it is to be very loud. Each of the mishak ranges from the crisp middle register to the flat high register. Only one pitch is ever played at a time in this passage. Each passage is performed using the ontak scale and in the ucat rhythm.
• Scales are conceived of as two chords built using a division of the perfect fourth interval into eleven notes. The tonic note is fixed only at the time of performance.
• As always, the gost hexatonic scale is thought of as two disjoint chords drawn from the fundamental division of the perfect fourth. These chords are named nicol and ustos.
• The nicol trichord is the 1st, the 2nd and the 11th degrees of the fundamental perfect fourth division.
• The ustos tetrachord is the 1st, the 3rd, the 7th and the 11th degrees of the fundamental perfect fourth division.
• As always, the ontak heptatonic scale is thought of as two disjoint chords drawn from the fundamental division of the perfect fourth. These chords are named anam and ustos.
• The anam tetrachord is the 1st, the 6th, the 8th and the 11th degrees of the fundamental perfect fourth division.
• The ucat rhythm is made from two patterns: the lakish and the feb. The patterns are to be played over the same period of time, concluding together regardless of beat number.
• The lakish rhythm is a single line with four beats. The beats are named asdos (spoken as), roder (ro), nel (ne) and biban (bi). The beat is stressed as follows:
• | x x X - |
• where X marks an accented beat, x is a beat, - is silent and | indicates a bar.
• The feb rhythm is a single line with nine beats divided into three bars in a 3-3-3 pattern. The beat is stressed as follows:
• | x x - | - x - | - x x |
• where x is a beat, - is silent and | indicates a bar.

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