The Lyrical Sheen
The Lyrical Sheen is a devotional form of music originally devised by the goblin Usbu Lierampages. The form guides musicians during improvised performances. The music is played on two ice and a nithara. The musical voices bring melody, counterpoint and rhythm. The melody has long phrases, while the counterpoint has mid-length phrases throughout the form. It is performed without preference for a scale and in free rhythm. Throughout, when possible, performers are to add fills and alternate tension and repose.
- Each ice always should feel mournful and syncopates.
- The nithara always should be melancholic.
- The Lyrical Sheen has a well-defined multi-passage structure: an introduction, a first theme, an exposition of the first theme, a bridge-passage, a lengthy second theme, an exposition of the second theme and a synthesis of previous passages.
- The introduction is voiced by the melody of the ice and the melody of the nithara. The passage is very fast, and it is to be loud. Each of the ice covers its entire range from the crisp low register to the dull high register. This passage features only melodic tones and intervals.
- The first theme is voiced by the melody of the nithara and the rhythm of the ice. The passage is twice the tempo of the last passage, and it is to be very loud. Each of the ice stays in the dull high register. Chords are packed close together in dense clusters in this passage.
- The first exposition is voiced by the melody of the ice and the counterpoint of the nithara. The passage is at a walking pace, and it is to be in whispered undertones. Each of the ice ranges from the watery middle register to the dull high register. This passage typically has some sparse chords.
- The bridge-passage is voiced by the melody of the ice. The passage gradually slows as it comes to an end, and it is to be loud. Each of the ice stays in the dull high register. Only one pitch is ever played at a time in this passage.
- The second theme is voiced by the melody of the nithara and the counterpoint of the ice. The passage is at a free tempo, and it is to be moderately loud. Each of the ice ranges from the crisp low register to the watery middle register. This passage features only melodic tones and intervals.
- The second exposition is voiced by the melody of the ice and the rhythm of the nithara. The passage is very slow, and it is to become louder and louder. Each of the ice ranges from the watery middle register to the dull high register. This passage features only melodic tones and intervals.
- The synthesis is voiced by the melody of the nithara and the counterpoint of the ice. The passage is very fast, and it is to start loud then be immediately soft. Each of the ice stays in the crisp low register. Only one pitch is ever played at a time in this passage.
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