The Flute of Tweeting

The Flute of Tweeting is a devotional form of music originating in The Union of Moments. The form guides musicians during improvised performances. A singer recites nonsensical words and sounds. The melody has long phrases throughout the form. Only one pitch is ever played at a time. Throughout, when possible, performers are to glide from note to note, locally improvise, alternate tension and repose, play arpeggios and play legato.

• The singer always does the main melody and should bring a sense of motion.
• The Flute of Tweeting has a well-defined multi-passage structure: a theme, a lengthy exposition of the theme, a bridge-passage and a lengthy recapitulation of the theme.
• The theme is fast, and it is to be very soft. The singer's voice ranges from the low register to the middle register. The passage is performed using the lastta scale and in the kes rhythm. The passage should sometimes include a falling-rising melody pattern with staccato and sometimes include a rising-falling melody pattern.
• The exposition slows and broadens, and it is to be very loud. The singer's voice stays in the high register. The passage is performed using the icmon scale and in free rhythm. The passage should always include a rising-falling melody pattern.
• The bridge-passage is moderately fast, and it is to become louder and louder. The singer's voice ranges from the middle register to the high register. The passage is performed using the stalcon scale and in free rhythm. The passage should be performed using staccato. The passage should often include a rising-falling melody pattern with mordents and rapid runs, often include a falling melody pattern with sharpened seventh degree as well as grace notes and rapid runs and sometimes include a rising melody pattern.
• The recapitulation gradually slows as it comes to an end, and it is to start loud then be immediately soft. The singer's voice ranges from the low register to the middle register. The passage is performed using the nithros scale and in the rorec rhythm. The passage should be performed using staccato. The passage should always include a rising melody pattern with sharpened third degree as well as trills and rapid runs, always include a falling-rising melody pattern, often include a falling melody pattern with mordents and rapid runs and often include a rising-falling melody pattern with mordents.
• Scales are conceived of as two chords built using a division of the perfect fourth interval into eight notes. The tonic note is fixed only at the time of performance.
• As always, the lastta heptatonic scale is thought of as two disjoint chords drawn from the fundamental division of the perfect fourth. These chords are named kasmko and ramet.
• The kasmko tetrachord is the 1st, the 3rd, the 6th and the 8th degrees of the fundamental perfect fourth division.
• The ramet tetrachord is the 1st, the 6th, the 7th and the 8th degrees of the fundamental perfect fourth division.
• As always, the icmon heptatonic scale is thought of as two disjoint chords drawn from the fundamental division of the perfect fourth. These chords are named thad and othag.
• The thad tetrachord is the 1st, the 2nd, the 4th and the 8th degrees of the fundamental perfect fourth division.
• The othag tetrachord is the 1st, the 4th, the 7th and the 8th degrees of the fundamental perfect fourth division.
• As always, the stalcon heptatonic scale is thought of as two disjoint chords drawn from the fundamental division of the perfect fourth. These chords are named rom and dik.
• The rom tetrachord is the 1st, the 2nd, the 7th and the 8th degrees of the fundamental perfect fourth division.
• The dik tetrachord is the 1st, the 2nd, the 6th and the 8th degrees of the fundamental perfect fourth division.
• As always, the nithros heptatonic scale is thought of as two disjoint chords drawn from the fundamental division of the perfect fourth. These chords are named thad and dik.
• 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 kes rhythm is made from two patterns: the tod and the hiner. As stated above, they are to be played in polyrhythm.
• The tod rhythm is a single line with eight beats divided into four bars in a 2-2-2-2 pattern. The beat is stressed as follows:
• | - x | x x | x - | - x |
• where x is a beat, - is silent and | indicates a bar.
• The hiner rhythm is a single line with seven beats. The beat is stressed as follows:
• | x x x - x x x |
• where x is a beat, - is silent and | indicates a bar.
• The rorec rhythm is made from two patterns: the hiner and the ohe. As stated above, they are to be played in polyrhythm.
• The ohe 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 x x - |
• where x is a beat, - is silent and | indicates a bar.

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