The Tulip of Glimmers

The Tulip of Glimmers is a form of music used during marches and military engagements originating in The Confederacies of Habit. The form guides musicians during improvised performances. A singer recites nonsensical words and sounds. The entire performance is to be soft. The melody has phrases of varied length throughout the form. Only one pitch is ever played at a time. It is performed in the noloc rhythm. Throughout, when possible, performers are to alternate tension and repose.

• The singer always does the main melody and should feel tender.
• The Tulip of Glimmers has a well-defined multi-passage structure: a theme, an exposition of the theme, a bridge-passage and a recapitulation of the theme.
• The theme accelerates as it proceeds. The singer's voice ranges from the low register to the middle register. The passage is performed using the ozi scale.
• The exposition moves more quickly than the last passage. The singer's voice ranges from the middle register to the high register. The passage is performed using the stalcon scale.
• The bridge-passage is very fast. The singer's voice ranges from the low register to the middle register. The passage is performed using the ramet scale.
• The recapitulation is slow. The singer's voice ranges from the low register to the middle register. The passage is performed using the nek scale.
• Scales are conceived of as two chords built using a division of the perfect fourth interval into eleven notes. The tonic note is a fixed tone passed from teacher to student. After a scale is constructed, the root note of chords are named. The names are lastta (spoken la) and cish (ci).
• As always, the ozi pentatonic scale is thought of as two disjoint chords drawn from the fundamental division of the perfect fourth. These chords are named thad and dik.
• The thad trichord is the 1st, the 9th and the 11th degrees of the fundamental perfect fourth division.
• The dik trichord is the 1st, the 6th and the 11th degrees of the fundamental perfect fourth division.
• As always, the stalcon hexatonic scale is thought of as two disjoint chords drawn from the fundamental division of the perfect fourth. These chords are named agtha and idla.
• The agtha trichord is the 1st, the 5th and the 11th degrees of the fundamental perfect fourth division.
• The idla tetrachord is the 1st, the 6th, the 8th and the 11th degrees of the fundamental perfect fourth division.
• As always, the ramet pentatonic scale is thought of as two disjoint chords drawn from the fundamental division of the perfect fourth. These chords are named ilpi and kasmko.
• The ilpi trichord is the 1st, the 7th and the 11th degrees of the fundamental perfect fourth division.
• The kasmko trichord is the 1st, the 3rd and the 11th degrees of the fundamental perfect fourth division.
• As always, the nek hexatonic scale is thought of as two disjoint chords drawn from the fundamental division of the perfect fourth. These chords are named rom and othag.
• The rom tetrachord is the 1st, the 3rd, the 5th and the 11th degrees of the fundamental perfect fourth division.
• The othag trichord is the 1st, the 9th and the 11th degrees of the fundamental perfect fourth division.
• The rhythm system is fundamentally polyrhythmic. There are always multiple rhythm lines, and each of their bars is played over the same period of time, regardless of the number of beats. The rhythm lines are thought of as one, without a primary-subordinate relationship, though individual lines can be named.
• The rhythm system is fundamentally polymetric. There are always multiple rhythm lines, and the beats are always played together, even if one rhythm line completes (and then repeats) before the other is finished. The rhythm lines are thought of as one, without a primary-subordinate relationship, though individual lines can be named.
• The noloc rhythm is made from two patterns: the onod (considered the primary) and the nazweng. As stated above, they are to be played in polyrhythm.
• The onod rhythm is a single line with eight beats divided into two bars in a 4-4 pattern. The beat is stressed as follows:
• | x x x X | x - - - |
• where X marks an accented beat, x is a beat, - is silent and | indicates a bar.
• The nazweng 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.

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