The Chants of Tweeting

The Chants of Tweeting is a form of music used during marches and military engagements originating in The Disloyalty of Crypts. The form guides musicians during improvised performances. The music is played on a osmlo and a gasnasp. The musical voices are joined in melody. The melody has phrases of varied length throughout the form. Never more than an interval sounds at once. It is performed in the usmdas rhythm. Throughout, when possible, performers are to use grace notes and play rapid runs.

• The osmlo always does the main melody, should bring a sense of motion and is to be very loud.
• The gasnasp always does the main melody, should perform sweetly, is to become softer and softer, uses mordents and plays arpeggios. The voice stays in the strident high register.
• The Chants of Tweeting has the following structure: one to two lengthy passages and another one to two passages possibly all repeated.
• Each of the first simple passages is slow. The osmlo stays in the dark high register and the gasnasp stays in the strident high register. Each passage is performed using the abo scale.
• Each of the second simple passages is twice the tempo of the last passage. The osmlo covers its entire range and the gasnasp stays in the strident high register. Each passage is performed using the lubu scale.
• Scales are constructed from eighteen notes dividing the octave. In quartertones, their spacing is roughly 1xxxx-xx-x-x-xxxxx-x-xxxO, where 1 is the tonic, O marks the octave and x marks other notes. The tonic note is a fixed tone passed from teacher to student. Preferred notes in the fundamental scale are named. The names are ekxox (spoken ek, 4th), asmuk (as, 5th), ok (ok, 11th) and slulasp (slu, 12th).
• The abo pentatonic scale is constructed by selection of degrees from the fundamental scale. The degrees selected are the 1st, the 3rd, the 7th, the 15th and the 17th.
• The lubu heptatonic scale is constructed by selection of degrees from the fundamental scale. The degrees selected are the 1st, the 4th, the 7th, the 8th, the 10th, the 11th and the 13th.
• The rhythm system is fundamentally polymetric. There are always multiple rhythm lines, and the beats are always played together, even if one rhythm line completes (and then repeats) before the other is finished. The rhythm lines are thought of as one, without a primary-subordinate relationship, though individual lines can be named.
• The usmdas rhythm is made from two patterns: the nuklat and the odu. As stated above, they are to be played in polymeter.
• The nuklat rhythm is a single line with eight beats. The beat is stressed as follows:
• | x - x x x x x x |
• where x is a beat, - is silent and | indicates a bar.
• The odu rhythm is a single line with seven beats. The beat is stressed as follows:
• | - - x - x x x |
• where x is a beat, - is silent and | indicates a bar.

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