The Fuchsia Suitor

The Fuchsia Suitor is a form of music used for entertainment originating in The Disloyalty of Blushing. The form guides musicians during improvised performances. One to two singers recite any composition of The Girdled Thimbles while the music is played on a dumo. The music is melody and rhythm without harmony. The entire performance is slow. The melody has mid-length phrases throughout the form. It is performed using the sasne scale and in free rhythm. Throughout, when possible, performers are to alternate tension and repose.

• Each singer always should be melancholic.
• The dumo always should perform sweetly.
• The Fuchsia Suitor has a well-defined multi-passage structure: a first theme, an exposition of the first theme, a second theme, an exposition of the second theme, a lengthy bridge-passage and a synthesis of previous passages.
• The first theme is voiced by the melody of the singers and the melody of the dumo. The passage is to be in whispered undertones. Each of the singers' voices covers its entire range and the dumo stays in the fragile high register. Only one pitch is ever played at a time in this passage.
• The first exposition is voiced by the melody of the singers and the rhythm of the dumo. The passage is to start loud then be immediately soft. Each of the singers' voices ranges from the middle register to the high register and the dumo stays in the watery low register. This passage features only melodic tones and intervals.
• The second theme is voiced by the melody of the singers. The passage is to be very soft. Each of the singers' voices ranges from the low register to the middle register. Only one pitch is ever played at a time in this passage.
• The second exposition is voiced by the melody of the singers and the melody of the dumo. The passage is to be very soft. Each of the singers' voices ranges from the low register to the middle register and the dumo stays in the watery low register. Only one pitch is ever played at a time in this passage.
• The bridge-passage is voiced by the melody of the dumo. The passage is to become softer and softer. The dumo stays in the watery low register. Only one pitch is ever played at a time in this passage.
• The synthesis is voiced by the melody of the singers and the melody of the dumo. The passage is to be very loud. Each of the singers' voices stays in the middle register and the dumo stays in the fragile high register. Only one pitch is ever played at a time in this passage.
• Scales are constructed from twelve notes spaced evenly throughout the octave. The tonic note is a fixed tone passed from teacher to student.
• The sasne heptatonic scale is thought of as two disjoint chords spanning a perfect fifth and a major third. These chords are named ogo and ozse.
• The ogo pentachord is the 1st, the 2nd, the 3rd, the 4th and the 8th degrees of the semitone octave scale.
• The ozse trichord is the 9th, the 10th and the 13th (completing the octave) degrees of the semitone octave scale.

Events