The Song of Music

The Song of Music is a form of music used to commemorate important events originating in The Inky Growths. The form guides musicians during improvised performances. A chanter recites The Future of Justice while the music is played on a dagi and a lolathe. The musical voices bring melody with harmony. The entire performance gradually slows as it comes to an end. The melody has mid-length phrases throughout the form. The music is broadly layered with chords spanning the range. It is performed in the mafina rhythm. Throughout, when possible, performers are to locally improvise and spread syllables over many notes.

• The chanter always does the main melody.
• The dagi always does harmony.
• The lolathe always does the main melody and plays staccato. The voice ranges from the nasal low register to the rippling middle register.
• The Song of Music has the following structure: a theme and one to two series of variations on the theme.
• The theme should be triumphant, and it is to be very loud. The chanter's voice ranges from the middle register to the high register, the lolathe ranges from the nasal low register to the rippling middle register and the dagi covers its entire range from the resonant low register to the harsh high register. The passage is performed using the fena scale. The passage should always include a falling-rising melody pattern with sharpened second degree on the fall, sharpened sixth degree on the rise and flattened third degree on the fall as well as trills, rapid runs, arpeggios and legato.
• Each of the series of variations should be passionate, and it is to fade into silence. The chanter's voice ranges from the low register to the middle register, the lolathe ranges from the nasal low register to the rippling middle register and the dagi stays in the resonant low register. Each passage is performed using the yaniye scale. Each passage should often include a falling melody pattern with flattened second degree as well as legato and sometimes include a rising melody pattern with sharpened sixth degree as well as legato.
• Scales are constructed from twelve notes spaced evenly throughout the octave. The tonic note is a fixed tone passed from teacher to student.
• The fena hexatonic scale is thought of as two disjoint chords spanning two perfect fourths. These chords are named adi and fathinu.
• The adi tetrachord is the 1st, the 2nd, the 3rd and the 6th degrees of the semitone octave scale.
• The fathinu trichord is the 8th, the 11th and the 13th (completing the octave) degrees of the semitone octave scale.
• The yaniye heptatonic scale is thought of as two disjoint chords spanning two perfect fourths. These chords are named eyo and fomire.
• The eyo tetrachord is the 1st, the 2nd, the 4th and the 6th degrees of the semitone octave scale.
• The fomire tetrachord is the 8th, the 10th, the 11th and the 13th (completing the octave) degrees of the semitone octave scale.
• The mafina rhythm is made from two patterns: the thafatha (considered the primary) and the lari. The patterns are to be played over the same period of time, concluding together regardless of beat number.
• The thafatha rhythm is a single line with twenty-five beats divided into five bars in a 5-5-5-5-5 pattern. The beats are named etini (spoken et), ile (il), atha (ath), alo (al) and aveya (av). The beat is stressed as follows:
• | 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.
• The lari rhythm is a single line with two beats. The beats are named aratha (spoken ar) and imeri (im). The beat is stressed as follows:
• | x x |
• where x is a beat and | indicates a bar.

Events