The Lute of Cavorting

The Lute of Cavorting is a devotional form of music originally devised by the elf Lora Sackoak. The rules of the form are applied by composers to produce individual pieces of music which can be performed. A chanter recites The Reason of Glitter while the music is played on a thilama. The musical voices bring melody, counterpoint and rhythm. The entire performance is to be in whispered undertones. The counterpoint melody has short phrases throughout the form. It is performed using the thuna scale and in the bareca rhythm. Throughout, when possible, composers and performers are to syncopate, alternate tension and repose, modulate frequently and play staccato.

• The chanter always should be delicate.
• The thilama always should feel mysterious.
• The Lute of Cavorting has a well-defined multi-passage structure: a verse and a chorus possibly all repeated, a bridge-passage and a brief chorus and a verse.
• The first verse is voiced by the melody of the thilama. The passage gradually slows as it comes to an end. The passage has mid-length phrases in the melody. This passage features only melodic tones and intervals.
• The first chorus is voiced by the melody of the chanter and the counterpoint of the thilama. The passage is at a walking pace. The chanter's voice stays in the low register. The passage has short phrases in the melody. This passage features only melodic tones and intervals.
• The bridge-passage is voiced by the melody of the chanter and the counterpoint of the thilama. The passage is moderately paced. The chanter's voice stays in the high register. The passage has long phrases in the melody. This passage is richly layered with full chords making use of the available range.
• The second chorus is voiced by the melody of the thilama and the rhythm of the chanter. The passage is consistently slowing. The chanter's voice stays in the middle register. The passage has short phrases in the melody. This passage typically has some sparse chords. The passage should be composed and performed using syllabic phrasing.
• The second verse is voiced by the melody of the thilama and the counterpoint of the chanter. The passage accelerates as it proceeds. The chanter's voice covers its entire range. The passage has long phrases in the melody. This passage is richly layered with full chords making use of the available range. The passage should be composed and performed using syllabic phrasing.
• Scales are constructed from twelve notes spaced evenly throughout the octave. The tonic note is fixed only at the time of performance.
• The thuna hexatonic scale is constructed by selection of degrees from the fundamental scale. The degrees selected are the 1st, the 4th, the 5th, the 7th, the 9th and the 11th.
• The bareca rhythm is made from two patterns: the mathuva and the fidale. The patterns are to be played over the same period of time, concluding together regardless of beat number.
• The mathuva rhythm is a single line with seven beats. The beats are named bulifo (spoken bu), ada (ad), mamo (ma), icithi (ic), arile (ar), opa (op) and eli (el). The beat is stressed as follows:
• | - x x X - - x`|
• where X marks an accented beat, ` marks a beat as early, x is a beat, - is silent and | indicates a bar.
• The fidale rhythm is a single line with two beats. The beats are named tarathe (spoken ta) and cuthefi (cu). The beat is stressed as follows:
• | x - |
• where x is a beat, - is silent and | indicates a bar.

Events

• In late autumn of 231, The Lute of Cavorting was created by the elf Lora Sackoak in Quietshark after a dream