The Tressed Intricacies

The Tressed Intricacies 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 singer recites any composition of The Luxuries of Focusing while the music is played on a noslong. The musical voices bring melody and counterpoint. The entire performance should be bright and is at a hurried pace, and it is to be soft. The melody has phrases of varied length, while the counterpoint has short phrases throughout the form. Throughout, when possible, composers and performers are to make trills and alternate tension and repose.

• The singer always does the counterpoint melody.
• The noslong always does the main melody.
• The Tressed Intricacies has the following structure: a lengthy verse and a chorus all repeated one to two times.
• In the verse, the singer's voice stays in the high register. This passage features only melodic tones and intervals. The passage is performed using the xenmu scale and in free rhythm.
• In the chorus, 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 is performed using the abo scale and in the gosma 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 xenmu hexatonic scale is constructed by selection of degrees from the fundamental scale. The degrees selected are the 1st, the 4th, the 5th, the 10th, the 12th and the 15th.
• The abo heptatonic scale is constructed by selection of degrees from the fundamental scale. The degrees selected are the 1st, the 6th, the 8th, the 9th, the 13th, the 16th and the 20th.
• 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 gosma rhythm is made from two patterns: the usmdas and the ekxox. As stated above, they are to be played in polyrhythm.
• The usmdas rhythm is a single line with nine beats divided into three bars in a 3-3-3 pattern. The beat is stressed as follows:
• | - x x | - x x | x x x |
• where x is a beat, - is silent and | indicates a bar.
• The ekxox rhythm is a single line with eight beats. The beats are named asmuk (spoken as), ok (ok), slulasp (slu), ozse (oz), sasne (sa), odu (od), nuklat (nu) and ost (ost). The beat is stressed as follows:
• | x - - x - - - - |
• where x is a beat, - is silent and | indicates a bar.

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