The Mirthful Blossom

The Mirthful Blossom is a form of music used for entertainment originating in The Confederacies of Habit. The form guides musicians during improvised performances. Two speakers recite nonsensical words and sounds while the music is played on a riloth and a lubbe. The music is melody and rhythm without harmony. The entire performance is to be moderately soft. The melody has phrases of varied length throughout the form. Chords, seldom-used, are sparse -- intervals and single pitches are favored. It is performed using the stalcon scale and in the bepa rhythm. Throughout, when possible, performers are to glide from note to note, syncopate, play arpeggios, play staccato and freely adjust the beats.

• Each speaker always should be passionate.
• The riloth always does the main melody and should be spirited.
• The lubbe always provides the rhythm, should be melancholic and adds fills.
• The Mirthful Blossom has the following structure: a theme and one to two series of variations on the theme possibly all repeated.
• The theme slows and broadens.
• Each of the series of variations moves more quickly than the last passage. Each passage should be performed using frequent modulation.
• 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 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.
• 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 bepa rhythm is made from two patterns: the osp (considered the primary) and the nazweng. As stated above, they are to be played in polyrhythm.
• The osp rhythm is a single line with four beats. The beats are named arin (spoken ar), umo (um), rostfen (ro) and hiner (hi). The beat is stressed as follows:
• | - - x - |
• where 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.

Events