The Leap of Mosses
The Leap of Mosses is a devotional form of music directed toward the worship of Sethe the Windy originally devised by the elf Lali Riderlyric. The rules of the form are applied by composers to produce individual pieces of music which can be performed. The music is played on a malatha, a ali and a thiliri. The musical voices cover melody, harmony and rhythm. The entire performance should be spirited. The melody has short phrases throughout the form. It is performed without preference for a scale and in free rhythm. Throughout, when possible, composers and performers are to modulate frequently and play arpeggios.
- The malatha always provides the rhythm.
- The ali always does harmony.
- The thiliri always does the main melody.
- The Leap of Mosses has a well-defined multi-passage structure: an introduction, a first theme, an exposition of the first theme, a lengthy second theme, a lengthy exposition of the second theme and a brief synthesis of previous passages.
- The introduction is slow, and it is to be very loud. The thiliri covers its entire range from the watery low register to the shrill high register and the malatha ranges from the buzzy low register to the rugged middle register. This passage is richly layered with full chords making use of the available range.
- The first theme gradually slows as it comes to an end, and it is to be loud. The thiliri ranges from the muddy middle register to the shrill high register and the malatha covers its entire range from the buzzy low register to the strident high register. Only one pitch is ever played at a time in this passage.
- The first exposition is half the tempo of the last passage, and it is to be very loud. The thiliri stays in the muddy middle register and the malatha covers its entire range from the buzzy low register to the strident high register. This passage features only melodic tones and intervals. The passage should be composed and performed using locally improvisation.
- The second theme is slow, and it is to be loud. The thiliri covers its entire range from the watery low register to the shrill high register and the malatha stays in the rugged middle register. This passage typically has some sparse chords.
- The second exposition is slow, and it is to be moderately soft. The thiliri ranges from the muddy middle register to the shrill high register and the malatha covers its entire range from the buzzy low register to the strident high register. This passage typically has some sparse chords.
- The synthesis is very slow, and it is to be very soft. The thiliri covers its entire range from the watery low register to the shrill high register and the malatha stays in the rugged middle register. This passage is richly layered with full chords making use of the available range. The passage should be composed and performed using locally improvisation.
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