The Fortuitous Veneration

The Fortuitous Veneration is a form of music used to commemorate important events originating in The Pink Realms. The rules of the form are applied by composers to produce individual pieces of music which can be performed. A chanter recites nonsensical words and sounds while the music is played on a hixur, a themsol and one to five sina. The musical voices cover melody, harmony and rhythm. The entire performance is to be soft. The melody has mid-length phrases throughout the form. It is performed in the seggu rhythm. Throughout, when possible, composers and performers are to glide from note to note and play rapid runs.

• The chanter always does the main melody and should be fiery.
• The hixur always provides the rhythm and should be melancholic.
• The themsol always does harmony and should perform with a light touch.
• Each sina always does harmony and should perform with feeling.
• The Fortuitous Veneration has a well-defined multi-passage structure: an introduction, three lengthy unrelated passages and a lengthy finale.
• The introduction slows and broadens. The chanter's voice covers its entire range, the themsol stays in the buzzy middle register and each of the sina ranges from the even low register to the ringing middle register. Chords are packed close together in dense clusters in this passage. The passage is performed without preference for a scale.
• Each of the simple passages gradually slows as it comes to an end. The chanter's voice stays in the middle register, the themsol covers its entire range from the buzzy low register to the harsh high register and each of the sina stays in the ringing middle register. This passage is richly layered with full chords making use of the available range. Each passage is performed using the ilpi scale.
• The finale is at a walking pace. The chanter's voice ranges from the middle register to the high register, the themsol covers its entire range from the buzzy low register to the harsh high register and each of the sina stays in the even low register. Chords are packed close together in dense clusters in this passage. The passage is performed using the othag scale.
• Scales are constructed from thirteen notes dividing the octave. In quartertones, their spacing is roughly 1-x-x-x-x-x--xx-x-xx-x-xO, where 1 is the tonic, O marks the octave and x marks other notes. The tonic note is a fixed tone passed from teacher to student. Preferred notes in the fundamental scale are named. The names are dik (spoken di, 5th), tunem (tu, 7th), ramet (ra, 8th), icmon (ic, 9th) and ozi (oz, 11th).
• The ilpi hexatonic scale is constructed by selection of degrees from the fundamental scale. The degrees selected are the 1st, the 3rd, the 4th, the 8th, the 9th and the 12th.
• The othag pentatonic scale is constructed by selection of degrees from the fundamental scale. The degrees selected are the 1st, the 5th, the 6th, the 11th and the 13th.
• The seggu rhythm is made from two patterns: the nek (considered the primary) and the stalcon.
• The nek rhythm is a single line with thirty-two beats divided into four bars in a 8-8-8-8 pattern. The beats are named lastta (spoken la), cish (ci), ani (an), shato (sha), almef (al), onod (on), osp (osp) and arin (ar). The beat is stressed as follows:
• | - - x - x - - - | x x - x - x x X | - X x x - x x x | - ! x - - - x - |
• where ! marks the primary accent, X marks an accented beat, x is a beat, - is silent and | indicates a bar.
• The stalcon rhythm is a single line with thirty-two beats divided into eight bars in a 4-4-4-4-4-4-4-4 pattern. The beat is stressed as follows:
• | x x X x | - x - 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.

Events