The Vegetation of Canyons
The Vegetation of Canyons is a devotional form of music directed toward the worship of Aditha Hailedbeaches the Glacial originally devised by the elf Vema Glittercats. The rules of the form are applied by composers to produce individual pieces of music which can be performed. Two speakers recite nonsensical words and sounds while the music is played on a lale. The musical voices are joined in melody. The entire performance should be melancholic and is consistently slowing, and it is to become softer and softer. The melody has phrases of varied length throughout the form. It is performed in the ile rhythm. Throughout, when possible, composers and performers are to use mordents, make trills and play legato.
- Each speaker always plays staccato.
- The lale always does the main melody.
- The Vegetation of Canyons has a well-defined multi-passage structure: an introduction and a passage and another one to two passages.
- This passage typically has some sparse chords. The introduction is performed without preference for a scale.
- This passage features only melodic tones and intervals. The first simple passage is performed using the lari scale.
- This passage features only melodic tones and intervals. Each of the second simple passages is performed using the yaniye scale.
- Scales are constructed from twelve notes spaced evenly throughout the octave. The tonic note is fixed only at the time of performance.
- The lari hexatonic scale is thought of as two disjoint chords spanning two perfect fourths. These chords are named datha and aweme.
- The datha trichord is the 1st, the 3rd and the 6th degrees of the semitone octave scale.
- The aweme tetrachord is the 8th, the 9th, the 10th and the 13th (completing the octave) degrees of the semitone octave scale.
- The yaniye hexatonic scale is thought of as two disjoint chords spanning two perfect fourths. These chords are named aro and aweme.
- The aro trichord is the 1st, the 2nd and the 6th degrees of the semitone octave scale.
- The ile rhythm is made from two patterns: the timafi and the amama. The patterns are to be played over the same period of time, concluding together regardless of beat number.
- The timafi rhythm is a single line with eight beats divided into four bars in a 2-2-2-2 pattern. The beats are named emu (spoken em) and upe (up). The beat is stressed as follows:
- | x - | x - | x x | - x |
- where x is a beat, - is silent and | indicates a bar.
- The amama rhythm is a single line with five beats. The beat is stressed as follows:
- | x X x x x |
- where X marks an accented beat, x is a beat and | indicates a bar.
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