The Meadow of Aquamarine

The Meadow of Aquamarine is a form of music used during marches and military engagements 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. A chanter recites nonsensical words and sounds. The entire performance should build as it proceeds, and it is to be moderately loud. The melody has long phrases throughout the form. Only one pitch is ever played at a time. It is performed in the timafi rhythm.

• The chanter always does the main melody.
• The Meadow of Aquamarine has a well-defined multi-passage structure: a first theme, an exposition of the first theme, a bridge-passage, a second theme, an exposition of the second theme, a lengthy synthesis of previous passages, a lengthy bridge-passage and a finale.
• The first theme is consistently slowing. The chanter's voice stays in the high register. The passage is performed using the yaniye scale.
• The first exposition is at a walking pace. The chanter's voice stays in the low register. The passage is performed using the datome scale. The passage should be composed and performed using staccato.
• The first bridge-passage is very fast. The chanter's voice stays in the high register. The passage is performed using the atho scale. The passage should be composed and performed using staccato.
• The second theme is at a hurried pace. The chanter's voice covers its entire range. The passage is performed using the aweme scale.
• The second exposition is at a hurried pace. The chanter's voice ranges from the low register to the middle register. The passage is performed using the fela scale. The passage should be composed and performed using staccato.
• The synthesis is moderately fast. The chanter's voice stays in the high register. The passage is performed using the cebela scale. The passage should be composed and performed using staccato.
• The second bridge-passage accelerates as it proceeds. The chanter's voice ranges from the low register to the middle register. The passage is performed without preference for a scale. The passage should be composed and performed using staccato.
• The finale is at a hurried pace. The chanter's voice ranges from the low register to the middle register. The passage is performed using the aweme scale.
• 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 yaniye 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 trichord is the 1st, the 3rd and the 8th degrees of the fundamental perfect fourth division.
• The thili tetrachord is the 1st, the 2nd, the 3rd and the 8th degrees of the fundamental perfect fourth division.
• As always, the datome heptatonic scale is thought of as two disjoint chords drawn from the fundamental division of the perfect fourth. These chords are named adi and thili.
• The adi tetrachord is the 1st, the 3rd, the 4th and the 8th degrees of the fundamental perfect fourth division.
• As always, the atho heptatonic scale is thought of as two disjoint chords drawn from the fundamental division of the perfect fourth. These chords are named ifife and thili.
• The ifife tetrachord is the 1st, the 2nd, the 6th and the 8th degrees of the fundamental perfect fourth division.
• As always, the aweme hexatonic scale is thought of as two disjoint chords drawn from the fundamental division of the perfect fourth. These chords are named eyo and datha.
• The eyo trichord is the 1st, the 5th 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.
• As always, the fela pentatonic scale is thought of as two disjoint chords drawn from the fundamental division of the perfect fourth. These chords are named eyo and warere.
• The warere trichord is the 1st, the 5th and the 8th degrees of the fundamental perfect fourth division.
• As always, the cebela heptatonic scale is thought of as two disjoint chords drawn from the fundamental division of the perfect fourth. These chords are named ifife and fathinu.
• The fathinu tetrachord is the 1st, the 2nd, the 5th and the 8th degrees of the fundamental perfect fourth division.
• The timafi rhythm is made from three patterns: the cenopu (considered the primary), the fidale and the arazi. The patterns are to be played over the same period of time, concluding together regardless of beat number.
• 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 fidale rhythm is a single line with three beats. The beats are named tarathe (spoken ta), cuthefi (cu) and cede (ce). The beat is stressed as follows:
• | x - x |
• where x is a beat, - is silent and | indicates a bar.
• The arazi rhythm is a single line with thirty-two beats divided into four bars in a 9-11-6-6 pattern. The beat is stressed as follows:
• | 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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