The Play of Styling
The Play of Styling is a devotional form of music directed toward the worship of Wisho Versetoned originally devised by the human Dema Roarmatches. 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 sunre and a iqua. The musical voices cover melody, harmony and rhythm. The melody has long phrases throughout the form. It is performed without preference for a scale and in free rhythm. Throughout, when possible, composers and performers are to alternate tension and repose.
- The sunre always should feel mysterious.
- The iqua always should bring a sense of motion.
- The Play of Styling has a well-defined multi-passage structure: an introduction, a first theme, an exposition of the first theme, a second theme, an exposition of the second theme, a bridge-passage and a synthesis of previous passages.
- The introduction is voiced by the melody of the sunre and the melody of the iqua. The passage gradually slows as it comes to an end, and it is to be soft. The iqua stays in the dark high register. Chords are packed close together in dense clusters in this passage.
- The first theme is voiced by the melody of the sunre and the melody of the iqua. The passage is half the tempo of the last passage, and it is to be moderately loud. The iqua stays in the wavering low register. This passage is richly layered with full chords making use of the available range.
- The first exposition is voiced by the melody of the sunre. The passage resumes the original tempo, and it is to be very loud. This passage is richly layered with full chords making use of the available range. The passage should be composed and performed using trills.
- The second theme is voiced by the melody of the iqua and the harmony of the sunre. The passage is at a free tempo, and it is to be very loud. The iqua covers its entire range from the wavering low register to the dark high register. This passage typically has some sparse chords. The passage should be composed and performed using mordents.
- The second exposition is voiced by the melody of the sunre and the rhythm of the iqua. The passage is very fast, and it is to become softer and softer. The iqua stays in the wavering low register. Only one pitch is ever played at a time in this passage.
- The bridge-passage is voiced by the melody of the sunre and the melody of the iqua. The passage is moderately fast, and it is to be very soft. The iqua stays in the wavering low register. Only one pitch is ever played at a time in this passage.
- The synthesis is voiced by the melody of the iqua and the rhythm of the sunre. The passage is fast, and it is to start loud then be immediately soft. The iqua stays in the wavering low register. This passage features only melodic tones and intervals. The passage should be composed and performed using mordents.
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