The Music of Sparkling

The Music of Sparkling is a form of music used to commemorate important events originally devised by the elf Imimi Shimmerbears. The rules of the form are applied by composers to produce individual pieces of music which can be performed. A singer recites the words of We See Frenzy while the music is played on a thimire. The musical voices bring melody and counterpoint. The entire performance should be passionate and accelerates as it proceeds. The melody and counterpoint both have mid-length phrases throughout the form. It is performed using the cebela scale and in the dinade rhythm. Throughout, when possible, composers and performers are to alternate tension and repose.

• The singer always does the counterpoint melody.
• The thimire always does the main melody.
• The Music of Sparkling has a well-defined multi-passage structure: a first theme, a lengthy exposition of the first theme, a second theme, an exposition of the second theme, a synthesis of previous passages, a bridge-passage and a lengthy finale.
• The first theme is to be loud. The thimire stays in the warm middle register and the singer's voice stays in the high register. Only one pitch is ever played at a time in this passage. The passage should be composed and performed using locally improvisation. The passage should always include a falling melody pattern with flattened seventh degree and sharpened fourth degree as well as legato, always include a rising melody pattern with flattened fifth degree as well as glides, mordents, trills, rapid runs and arpeggios, sometimes include a falling-rising melody pattern with flattened seventh degree on the fall and sharpened third degree on the fall as well as grace notes, trills, rapid runs and legato and always include a rising-falling melody pattern with sharpened second degree on the fall as well as staccato and legato.
• The first exposition is to be loud. The thimire ranges from the wispy low register to the warm middle register and the singer's voice ranges from the low register to the middle register. Only one pitch is ever played at a time in this passage. The passage should be composed and performed using syllabic phrasing.
• The second theme is to be moderately loud. The thimire ranges from the warm middle register to the muddy high register and the singer's voice stays in the high register. Only one pitch is ever played at a time in this passage. The passage should be composed and performed using locally improvisation. The passage should always include a rising melody pattern with flattened fourth degree as well as mordents and sometimes include a rising-falling melody pattern with flattened third degree on the rise as well as trills and rapid runs.
• The second exposition is to be very soft. The thimire stays in the wispy low register and the singer's voice covers its entire range. Only one pitch is ever played at a time in this passage.
• The synthesis is to be soft. The thimire ranges from the wispy low register to the warm middle register and the singer's voice covers its entire range. Only one pitch is ever played at a time in this passage.
• The bridge-passage is to start loud then be immediately soft. The thimire ranges from the wispy low register to the warm middle register and the singer's voice covers its entire range. This passage features only melodic tones and intervals. The passage should be composed and performed using locally improvisation and syllabic phrasing. The passage should sometimes include a falling melody pattern with rapid runs and arpeggios, always include a rising-falling melody pattern with flattened fifth degree on the fall as well as glides and sometimes include a rising melody pattern with grace notes.
• The finale is to be loud. The thimire ranges from the warm middle register to the muddy high register and the singer's voice stays in the middle register. This passage features only melodic tones and intervals. The passage should be composed and performed using locally improvisation. The passage should sometimes include a falling-rising melody pattern with sharpened fourth degree on the rise as well as trills, rapid runs, arpeggios and staccato.
• Scales are conceived of as two chords built using a division of the perfect fourth interval into eight 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 aratha (spoken ar) and imeri (im).
• As always, the cebela heptatonic scale is thought of as two disjoint chords drawn from the fundamental division of the perfect fourth. These chords are named ifife and fathinu.
• The ifife tetrachord is the 1st, the 2nd, the 6th and the 8th degrees of the fundamental perfect fourth division.
• The fathinu tetrachord is the 1st, the 2nd, the 5th and the 8th degrees of the fundamental perfect fourth division.
• The dinade rhythm is a single line with four beats divided into two bars in a 2-2 pattern. The beat is stressed as follows:
• | - x | - x |
• where x is a beat, - is silent and | indicates a bar.

Events

• In midwinter of 182, The Music of Sparkling was created by the elf Imimi Shimmerbears in Sheenchanneled