The Poetic Lark

The Poetic Lark is a form of music used for entertainment originally devised by the elf Iki Fragrancehopeful. The rules of the form are applied by composers to produce individual pieces of music which can be performed. One to three singers recite any composition of The Satins of Sparkling while the music is played on three iye, a aro and a ece. The musical voices join in melody and counterpoint, harmony and rhythm. The entire performance gradually slows as it comes to an end, and it is to become softer and softer. The melody and counterpoint both have short phrases throughout the form. It is performed using the fomire scale. Throughout, when possible, composers and performers are to alternate tension and repose, play staccato, play legato and spread syllables over many notes.

• The Poetic Lark has a well-defined multi-passage structure: an introduction, a theme, an exposition of the theme, a lengthy recapitulation of the theme, a bridge-passage and a finale.
• The introduction is voiced by the melody of the aro and the harmony of the ece. The passage should be spirited. This passage features only melodic tones and intervals. The passage is performed in the fena rhythm.
• The theme is voiced by the melody of the iye. The passage should be melancholic. Each of the iye covers its entire range. Only one pitch is ever played at a time in this passage. The passage is performed in the atho rhythm.
• The exposition is voiced by the melody of the singers and the rhythm of the iye. The passage should be made with a light touch. Each of the singers' voices ranges from the middle register to the high register and each of the iye stays in the muddy low register. This passage features only melodic tones and intervals. The passage is performed in the etini rhythm.
• The recapitulation is voiced by the melody of the ece, the counterpoint of the iye, the harmony of the singers and the harmony of the aro. The passage should be made with feeling. Each of the iye stays in the muddy low register and each of the singers' voices covers its entire range. This passage features only melodic tones and intervals. The passage is performed in free rhythm.
• The bridge-passage is voiced by the melody of the ece, the counterpoint of the singers and the harmony of the aro. The passage should be made with feeling. Each of the singers' voices stays in the low register. Only one pitch is ever played at a time in this passage. The passage is performed in free rhythm.
• The finale is voiced by the melody of the singers, the melody of the aro, the harmony of the iye and the harmony of the ece. The passage should be passionate. Each of the singers' voices ranges from the low register to the middle register and each of the iye covers its entire range. Only one pitch is ever played at a time in this passage. The passage is performed in the ele rhythm.
• Scales are constructed from seventeen notes dividing the octave. In quartertones, their spacing is roughly 1-xxxx-x-x-x-xxx-xxxx-xxO, 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.
• The fomire heptatonic scale is constructed by selection of degrees from the fundamental scale. The degrees selected are the 1st, the 3rd, the 6th, the 7th, the 9th, the 10th and the 14th.
• 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 rhythm system is fundamentally polymetric. There are always multiple rhythm lines, and the beats are always played together, even if one rhythm line completes (and then repeats) before the other is finished. The rhythm lines are thought of as one, without a primary-subordinate relationship, though individual lines can be named.
• The fena rhythm is a single line with eight beats divided into two bars in a 4-4 pattern. The beat is stressed as follows:
• | - x - - | x x - - |
• where x is a beat, - is silent and | indicates a bar.
• The atho rhythm is a single line with twelve beats divided into four bars in a 3-3-3-3 pattern. The beat is stressed as follows:
• | ! x x | - x x | - x - | x X x |
• where ! marks the primary accent, X marks an accented beat, x is a beat, - is silent and | indicates a bar.
• The etini rhythm is made from two patterns: the yaniye (considered the primary) and the aweme.
• The yaniye rhythm is a single line with four beats. The beat is stressed as follows:
• | - - - x |
• where x is a beat, - is silent and | indicates a bar.
• The aweme rhythm is a single line with four beats. The beat is stressed as follows:
• | x X x x |
• where X marks an accented beat, x is a beat and | indicates a bar.
• The ele rhythm is made from two patterns: the otoga and the fela. As stated above, they are to be played in polyrhythm.
• The otoga rhythm is a single line with thirty-two beats divided into eight bars in a 4-4-4-4-4-4-4-4 pattern. The beat is stressed as follows:
• | - x - - | - x - - | x x - - | x x X - | - - - x | - x - x | - - - x | x x X x |
• where X marks an accented beat, x is a beat, - is silent and | indicates a bar.
• The fela rhythm is a single line with two beats. The beat is stressed as follows:
• | - x |
• where x is a beat, - is silent and | indicates a bar.

Events

• In midautumn of 222, The Poetic Lark was created by the elf Iki Fragrancehopeful in Valebrother