The Euphoria of Tresses
The Euphoria of Tresses is a devotional form of music originally devised by the elf Avafi Sculptcanyons. The form guides musicians during improvised performances. The music is played on a mevena, a aritha and a amafi. The musical voices cover melody, harmony and rhythm. The melody has phrases of varied length throughout the form. It is performed using the atho scale and in free rhythm. Throughout, when possible, performers are to use grace notes and syncopate.
- The mevena always should be spirited and is to be moderately soft.
- The aritha always should perform sweetly and is to be very soft.
- The amafi always should feel tender and is to be moderately soft. The voice uses its entire range from the nasal low register to the quavering high register.
- The Euphoria of Tresses has a well-defined multi-passage structure: one to two passages and an additional passage and a finale.
- Each of the first simple passages is voiced by the melody of the mevena and the melody of the aritha. Each passage gradually slows as it comes to an end. The mevena stays in the nasal high register and the aritha stays in the strained low register. Only one pitch is ever played at a time in this passage.
- The second simple passage is voiced by the melody of the amafi and the rhythm of the aritha. The passage is moderately fast. The amafi covers its entire range from the nasal low register to the quavering high register and the aritha stays in the strained low register. This passage features only melodic tones and intervals. The passage should be performed using rapid runs.
- The finale is voiced by the melody of the aritha, the harmony of the mevena and the harmony of the amafi. The passage is at a free tempo. The aritha covers its entire range from the strained low register to the wavering high register, the mevena covers its entire range from the strident low register to the nasal high register and the amafi covers its entire range from the nasal low register to the quavering high register. Only one pitch is ever played at a time in this passage. The passage should be performed using frequent modulation.
- Scales are conceived of as two chords built using a division of the perfect fourth interval into eleven notes. The tonic note is fixed only at the time of performance. Preferred notes in the fundamental scale are named. The names are thuna (spoken thu, 1st), arazi (ar, 4th), fidale (fi, 7th) and tarathe (ta, 9th).
- As always, the atho hexatonic scale is thought of as two disjoint chords drawn from the fundamental division of the perfect fourth. These chords are named aro and thili.
- The aro tetrachord is the 1st, the 3rd, the 7th and the 11th degrees of the fundamental perfect fourth division.
- The thili trichord is the 1st, the 7th and the 11th degrees of the fundamental perfect fourth division.
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