The Russet Intricacy

The Russet Intricacy is a devotional form of music originating in The Nation of Meeting. The form guides musicians during improvised performances. Three speakers recite any composition of The Glittery Larks while the music is played on a caquot and a toxuth. The musical voices are purely rhythmic. It is performed without preference for a scale. Throughout, when possible, performers are to play staccato and play legato.

• Each speaker always should stress the rhythm and is to start loud then be immediately soft.
• The caquot always provides the rhythm, should stress the rhythm and is to be loud.
• The toxuth always provides the rhythm, should feel mysterious and is to be in whispered undertones.
• The Russet Intricacy has a well-defined multi-passage structure: a passage and another one to two lengthy passages possibly all repeated and a finale.
• The first simple passage is very slow. This passage features only melodic tones and intervals. The passage is performed in the omsuth rhythm.
• Each of the second simple passages slows and broadens. Only one pitch is ever played at a time in this passage. Each passage is performed in the cadem rhythm.
• The finale accelerates as it proceeds. This passage features only melodic tones and intervals. The passage is performed in the stral rhythm.
• The omsuth rhythm is made from two patterns: the tikbo and the ushav. The patterns are to be played over the same period of time, concluding together regardless of beat number.
• 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 ushav rhythm is a single line with four beats. The beats are named asri (spoken as), odu (od), ijat (ij) and iquob (iq). The beat is stressed as follows:
• | - x x - |
• where x is a beat, - is silent and | indicates a bar.
• The cadem rhythm is made from two patterns: the noloc and the musda. 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 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 stral rhythm is made from two patterns: the tikbo and the arin. The patterns are to be played over the same period of time, concluding together regardless of beat number.
• The arin rhythm is a single line with eight beats. The beats are named umo (spoken um), rostfen (ro), hiner (hi), ohe (oh), nazweng (na), tod (to), zomuth (zo) and bepa (be). 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.

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