The Satiny Glitter
The Satiny Glitter is a form of music used during marches and military engagements originally devised by the elf Ana Pearlswelters. The form guides musicians during improvised performances. Two chanters recite any composition of The Learning of Lessons while the music is played on one to three ece, a iki and a lethathi. The musical voices join in melody and counterpoint, harmony and rhythm. The entire performance is very slow. The melody has long phrases, while the counterpoint has phrases of varied length throughout the form. It is performed without preference for a scale and in free rhythm.
- Each chanter always should be broad.
- Each ece always should be melancholic.
- The iki always should be melancholic.
- The lethathi always should evoke tears.
- The Satiny Glitter has a well-defined multi-passage structure: a lengthy introduction, a chorus and a verse all repeated one times, a bridge-passage, a lengthy finale and a coda.
- The introduction is voiced by the melody of the iki. The passage is to be moderately loud. The iki stays in the strident middle register. This passage typically has some sparse chords.
- The chorus is voiced by the melody of the chanters, the melody of the iki and the melody of the lethathi. The passage is to be very loud. Each of the chanters' voices stays in the high register, the iki ranges from the buzzy low register to the strident middle register and the lethathi covers its entire range from the rippling low register to the muddy high register. This passage typically has some sparse chords.
- The verse is voiced by the melody of the ece, the melody of the iki, the counterpoint of the lethathi and the rhythm of the chanters. The passage is to be in whispered undertones. The iki ranges from the strident middle register to the heavy high register, the lethathi covers its entire range from the rippling low register to the muddy high register and each of the chanters' voices stays in the middle register. This passage is richly layered with full chords making use of the available range.
- The bridge-passage is voiced by the melody of the ece, the melody of the lethathi, the harmony of the chanters and the harmony of the iki. The passage is to fade into silence. The lethathi covers its entire range from the rippling low register to the muddy high register, each of the chanters' voices ranges from the low register to the middle register and the iki ranges from the strident middle register to the heavy high register. This passage features only melodic tones and intervals.
- The finale is voiced by the melody of the chanters, the counterpoint of the iki and the harmony of the lethathi. The passage is to be moderately soft. Each of the chanters' voices covers its entire range, the iki covers its entire range from the buzzy low register to the heavy high register and the lethathi covers its entire range from the rippling low register to the muddy high register. This passage is richly layered with full chords making use of the available range.
- The coda is voiced by the melody of the ece, the melody of the lethathi, the harmony of the chanters and the harmony of the iki. The passage is to fade into silence. The lethathi stays in the muddy high register, each of the chanters' voices stays in the low register and the iki ranges from the strident middle register to the heavy high register. This passage features only melodic tones and intervals.
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