The Amethyst Flower

The Amethyst Flower is a devotional form of music originating in The Kingdom of Faith. The rules of the form are applied by composers to produce individual pieces of music which can be performed. The music is played on a luldan. The entire performance should be stately and is consistently slowing. The melody has mid-length phrases throughout the form. Only one pitch is ever played at a time. It is performed in the oth rhythm.

• The luldan always does the main melody.
• The Amethyst Flower has a well-defined multi-passage structure: a verse and a chorus possibly all repeated, a finale and a lengthy coda.
• The verse is to be loud. The passage is performed using the nithros scale.
• The chorus is to be very soft. The passage is performed using the kasmko scale. The passage should be composed and performed using grace notes.
• The finale is to be very loud. The passage is performed using the othag scale.
• The coda is to be moderately soft. The passage is performed using the idla scale.
• Scales are constructed from twenty notes dividing the octave. In quartertones, their spacing is roughly 1-xxx-xxxx-xxxxxxxxx-xxxO, 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. After a scale is constructed, notes are named according to degree. The names are dik (spoken di), tunem (tu), ramet (ra), icmon (ic), ozi (oz), stalcon (sta) and nek (ne).
• The nithros hexatonic scale is constructed by selection of degrees from the fundamental scale. The degrees selected are the 1st, the 3rd, the 7th, the 9th, the 13th and the 15th.
• The kasmko hexatonic scale is constructed by selection of degrees from the fundamental scale. The degrees selected are the 1st, the 3rd, the 8th, the 9th, the 12th and the 17th.
• The othag pentatonic scale is constructed by selection of degrees from the fundamental scale. The degrees selected are the 1st, the 6th, the 9th, the 12th and the 18th.
• The idla hexatonic scale is constructed by selection of degrees from the fundamental scale. The degrees selected are the 1st, the 4th, the 8th, the 11th, the 14th and the 16th.
• The oth rhythm is made from two patterns: the ohe (considered the primary) and the suku. The patterns are to be played in the same beat, allowing one to repeat before the other is concluded.
• The ohe rhythm is a single line with nine beats divided into three bars in a 3-3-3 pattern. The beat is stressed as follows:
• | x x - | x - x | - x`- |
• where ` marks a beat as early, x is a beat, - is silent and | indicates a bar.
• The suku rhythm is a single line with sixteen beats divided into four bars in a 4-4-4-4 pattern. The beats are named rorec (spoken ro), musda (mu), uzu (uz) and onaf (on). The beat is stressed as follows:
• | x x x - | x - x`x | x x - x | - - - x |
• where ` marks a beat as early, x is a beat, - is silent and | indicates a bar.

Events