The Snarling Gullies

The Snarling Gullies is a devotional form of music directed toward the worship of Aditha Hailedbeaches the Glacial originating in The Ultra-Thorns of Justifying. The rules of the form are applied by composers to produce individual pieces of music which can be performed. The music is played on one to four thimire. The entire performance is to fade into silence. The melody has phrases of varied length throughout the form. Only one pitch is ever played at a time. It is performed using the fomire scale and in the thafatha rhythm. Throughout, when possible, composers and performers are to make trills.

• Each thimire always does the main melody and should feel mournful.
• The Snarling Gullies has the following structure: one to two passages and an additional passage possibly all repeated.
• Each of the first simple passages slows and broadens. Each of the thimire stays in the muddy high register.
• The second simple passage is twice the tempo of the last passage. Each of the thimire ranges from the warm middle register to the muddy high register.
• Scales are conceived of as two chords built using a division of the perfect fourth interval into eight notes. The tonic note is a fixed tone passed from teacher to student. After a scale is constructed, the root note of chords are named. The names are aratha (spoken ar) and imeri (im).
• As always, the fomire heptatonic scale is thought of as two disjoint chords drawn from the fundamental division of the perfect fourth. These chords are named ifife and datha.
• The ifife tetrachord is the 1st, the 2nd, the 6th and the 8th degrees of the fundamental perfect fourth division.
• The datha tetrachord is the 1st, the 3rd, the 5th and the 8th degrees of the fundamental perfect fourth division.
• The thafatha rhythm is made from two patterns: the cenopu (considered the primary) and the otoga. The patterns are to be played in the same beat, allowing one to repeat before the other is concluded.
• The cenopu rhythm is a single line with two beats. The beat is stressed as follows:
• | x x |
• where x is a beat and | indicates a bar.
• The otoga rhythm is a single line with thirty-two beats divided into six bars in a 4-6-6-6-7-3 pattern. The beat is stressed as follows:
• | x`x x`x | x - x x - - | x x x - x x | - - x - x x | x x'x'- - x x | - x x |
• where ` marks a beat as early, ' marks a beat as late, x is a beat, - is silent and | indicates a bar.

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