The Veneration of Chants

The Veneration of Chants is a form of music used for entertainment originating in The Hale Field. The rules of the form are applied by composers to produce individual pieces of music which can be performed. Two speakers recite The Ship of Soaking while the music is played on a ece and three to six aro. The musical voices join in melody, counterpoint and harmony. The entire performance is to become softer and softer. The melody has long phrases, while the counterpoint has phrases of varied length throughout the form. It is performed using the datha scale and in free rhythm. Throughout, when possible, composers and performers are to use mordents, make trills, alternate tension and repose and play arpeggios.

• The Veneration of Chants has a well-defined multi-passage structure: a lengthy introduction, a first theme, a lengthy exposition of the first theme, a lengthy second theme, an exposition of the second theme, a bridge-passage and a synthesis of previous passages.
• The introduction is voiced by the melody of the ece, the counterpoint of the aro and the speakers. The passage should be made with a light touch and is slow. This passage typically has some sparse chords.
• The first theme is voiced by the melody of the aro and the speakers. The passage should be made expressively and is twice the tempo of the last passage. This passage features only melodic tones and intervals.
• The first exposition is voiced by the melody of the aro, the counterpoint of the ece and the speakers. The passage should evoke tears and resumes the original tempo. Only one pitch is ever played at a time in this passage.
• The second theme is voiced by the melody of the aro, the harmony of the ece and the speakers. The passage should be stately and is consistently slowing. This passage typically has some sparse chords.
• The second exposition is voiced by the melody of the ece, the harmony of the aro and the speakers. The passage should be made with feeling and accelerates as it proceeds. Only one pitch is ever played at a time in this passage.
• The bridge-passage is voiced by the melody of the ece, the melody of the aro and the speakers. The passage should be delicate and is slower than the last passage. This passage typically has some sparse chords.
• The synthesis is voiced by the melody of the aro and the speakers. The passage should be vigorous and is fast. Only one pitch is ever played at a time in this passage.
• 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 datha heptatonic scale is constructed by selection of degrees from the fundamental scale. The degrees selected are the 1st, the 2nd, the 5th, the 7th, the 9th, the 11th and the 13th.

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