The Embraced Velvet-Drums

The Embraced Velvet-Drums is a form of music used during marches and military engagements 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. A singer recites any composition of The Lilac of Mosses while the music is played on a ime, one to six ini and three kise. The music is melody and rhythm without harmony. The entire performance is to be moderately loud. The melody has short phrases throughout the form. It is performed in the lastta rhythm. Throughout, when possible, composers and performers are to use mordents, alternate tension and repose, modulate frequently and match notes and syllables.

• The singer always does the main melody and should be triumphant.
• The ime always does the main melody and should bring a sense of motion.
• Each ini always does the main melody and should be triumphant.
• Each kise always provides the rhythm and should be fiery.
• The Embraced Velvet-Drums has a well-defined multi-passage structure: an introduction, a brief verse and a chorus all repeated up to two times, a bridge-passage, a chorus and a verse, a finale and a coda.
• The introduction is moderately fast. The singer's voice ranges from the middle register to the high register. This passage features only melodic tones and intervals. The passage is performed using the use scale.
• The first verse gradually slows as it comes to an end. The singer's voice covers its entire range. This passage is richly layered with full chords making use of the available range. The passage is performed using the woge scale.
• The first chorus is twice the tempo of the last passage. The singer's voice ranges from the low register to the middle register. This passage typically has some sparse chords. The passage is performed using the ilpi scale.
• The bridge-passage is consistently slowing. The singer's voice covers its entire range. This passage typically has some sparse chords. The passage is performed using the kasmko scale.
• The second chorus is very slow. The singer's voice stays in the low register. Chords are packed close together in dense clusters in this passage. The passage is performed using the thad scale.
• The second verse is at a walking pace. The singer's voice ranges from the low register to the middle register. This passage features only melodic tones and intervals. The passage is performed using the rom scale.
• The finale is fast. The singer's voice ranges from the low register to the middle register. This passage features only melodic tones and intervals. The passage is performed using the idla scale.
• The coda is consistently slowing. The singer's voice covers its entire range. This passage typically has some sparse chords. The passage is performed using the agtha 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 use hexatonic scale is constructed by selection of degrees from the fundamental scale. The degrees selected are the 1st, the 4th, the 7th, the 10th, the 13th and the 17th.
• The woge hexatonic scale is constructed by selection of degrees from the fundamental scale. The degrees selected are the 1st, the 5th, the 6th, the 10th, the 12th and the 16th.
• The ilpi heptatonic scale is constructed by selection of degrees from the fundamental scale. The degrees selected are the 1st, the 6th, the 7th, the 10th, the 14th, the 15th and the 19th.
• 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 thad hexatonic scale is constructed by selection of degrees from the fundamental scale. The degrees selected are the 1st, the 4th, the 7th, the 10th, the 12th and the 16th.
• The rom heptatonic scale is constructed by selection of degrees from the fundamental scale. The degrees selected are the 1st, the 3rd, the 7th, the 10th, the 12th, the 16th and the 20th.
• 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 agtha pentatonic scale is constructed by selection of degrees from the fundamental scale. The degrees selected are the 1st, the 5th, the 8th, the 14th and the 18th.
• The lastta rhythm is a single line with two beats. The beats are named cish (spoken ci) and ani (an). The beat is stressed as follows:
• | x x |
• where x is a beat and | indicates a bar.

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