The Gloss of Sisters

The Gloss of Sisters is a form of music used to commemorate important events originating in The Nation of Meeting. The rules of the form are applied by composers to produce individual pieces of music which can be performed. A speaker recites any composition of The Glittery Larks while the music is played on a thrimes. The musical voices are joined in melody. The melody has long phrases throughout the form. Throughout, when possible, composers and performers are to spread syllables over many notes.

• The thrimes always does the main melody.
• The Gloss of Sisters has a well-defined multi-passage structure: a theme, a lengthy exposition of the theme, a bridge-passage and a recapitulation of the theme.
• The theme is fast, and it is to be in whispered undertones. The thrimes stays in the muddy low register. Chords are packed close together in dense clusters in this passage. The passage is performed using the lastta scale and in the aro rhythm.
• The exposition is consistently slowing, and it is to start loud then be immediately soft. The thrimes covers its entire range from the muddy low register to the rippling high register. Only one pitch is ever played at a time in this passage. The passage is performed using the ozi scale and in the caquot rhythm.
• The bridge-passage gradually slows as it comes to an end, and it is to be moderately loud. The thrimes stays in the rippling high register. This passage is richly layered with full chords making use of the available range. The passage is performed using the icmon scale and in the leto rhythm.
• The recapitulation is very fast, and it is to become softer and softer. The thrimes covers its entire range from the muddy low register to the rippling high register. This passage features only melodic tones and intervals. The passage is performed using the nithros scale and in the hoth rhythm.
• Scales are constructed from twelve notes spaced evenly throughout the octave. The tonic note is a fixed tone passed from teacher to student. Preferred notes in the fundamental scale are named. The names are ani (spoken an, 5th), shato (sha, 11th) and almef (al, 12th).
• The lastta hexatonic scale is thought of as two disjoint chords spanning two perfect fourths. These chords are named kasmko and woge.
• The kasmko trichord is the 1st, the 5th and the 6th degrees of the semitone octave scale.
• The woge tetrachord is the 8th, the 9th, the 10th and the 13th (completing the octave) degrees of the semitone octave scale.
• The ozi pentatonic scale is constructed by selection of degrees from the fundamental scale. The degrees selected are the 1st, the 2nd, the 4th, the 6th and the 11th.
• The icmon hexatonic scale is thought of as two disjoint chords spanning two perfect fourths. These chords are named agtha and othag.
• The agtha tetrachord is the 1st, the 2nd, the 3rd and the 6th degrees of the semitone octave scale.
• The othag trichord is the 8th, the 11th and the 13th (completing the octave) degrees of the semitone octave scale.
• The nithros hexatonic scale is thought of as two disjoint chords spanning two perfect fourths. These chords are named ilpi and woge.
• The ilpi trichord is the 1st, the 4th and the 6th degrees of the semitone octave scale.
• The aro rhythm is made from two patterns: the seggu and the uzu. The patterns are to be played over the same period of time, concluding together regardless of beat number.
• The seggu rhythm is a single line with four beats. The beat is stressed as follows:
• | - x x - |
• where x is a beat, - is silent and | indicates a bar.
• The uzu rhythm is a single line with three beats. The beats are named onaf (spoken on), agthreb (ag) and kaslal (ka). The beat is stressed as follows:
• | - x - |
• where x is a beat, - is silent and | indicates a bar.
• The caquot rhythm is made from two patterns: the seggu and the noloc. The patterns are to be played over the same period of time, concluding together regardless of beat number.
• The noloc rhythm is a single line with three beats. The beats are named kes (spoken ke), suku (su) and rorec (ro). The beat is stressed as follows:
• | x X x |
• where X marks an accented beat, x is a beat and | indicates a bar.
• The leto rhythm is made from two patterns: the musda and the tikbo. The patterns are to be played over the same period of time, concluding together regardless of beat number.
• The musda rhythm is a single line with two beats. The beat is stressed as follows:
• | x - |
• where x is a beat, - is silent and | indicates a bar.
• The tikbo rhythm is a single line with five beats. The beats are named apu (spoken ap), sluste (slu), itlud (it), eman (em) and oth (oth). The beat is stressed as follows:
• | x x x - X |
• where X marks an accented beat, x is a beat, - is silent and | indicates a bar.
• The hoth rhythm is made from two patterns: the noloc and the onod. The patterns are to be played over the same period of time, concluding together regardless of beat number.
• The onod rhythm is a single line with thirty-two beats divided into four bars in a 8-8-8-8 pattern. The beat is stressed as follows:
• | - - 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.

Events