The Chant of Silkiness

The Chant of Silkiness is a form of music used during marches and military engagements originating in The Pink Seduction. The rules of the form are applied by composers to produce individual pieces of music which can be performed. A speaker recites nonsensical words and sounds while the music is played on a emo and a dod. The musical voices join in melody, counterpoint and harmony. The entire performance should feel tender, and it is to be very soft. The melody has mid-length phrases, while the counterpoint has short phrases throughout the form. It is performed using the lasm scale. Throughout, when possible, composers and performers are to glide from note to note.

• The Chant of Silkiness has the following structure: a passage and a coda.
• The simple passage is voiced by the melody of the emo, the harmony of the dod and the speaker reciting nonsensical words and sounds. The passage is moderately fast. The emo ranges from the sonorous low register to the raspy middle register. Only one pitch is ever played at a time in this passage. The passage is performed in free rhythm.
• The coda is voiced by the melody of the dod, the counterpoint of the emo and the speaker reciting nonsensical words and sounds. The passage is moderately paced. The emo covers its entire range from the sonorous low register to the fragile high register. Chords are packed close together in dense clusters in this passage. The passage is performed in the agun rhythm.
• Scales are constructed from twenty notes dividing the octave. In quartertones, their spacing is roughly 1xx-xxxxx-xx-xxx-xxxxxxxO, where 1 is the tonic, O marks the octave and x marks other notes. The tonic note is fixed only at the time of performance. After a scale is constructed, the root note of chords are named. The names are usnusp (spoken us) and ngub (ngu).
• The lasm heptatonic scale is constructed by selection of degrees from the fundamental scale. The degrees selected are the 1st, the 4th, the 5th, the 10th, the 14th, the 15th and the 18th.
• 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 agun rhythm is a single line with two beats. The beats are named ung (spoken ung) and stotho (sto). The beat is stressed as follows:
• | x - |
• where x is a beat, - is silent and | indicates a bar.

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