The Tufted Mist

The Tufted Mist is a devotional form of music directed toward the worship of Romimi Larkearthen originating in The Admired Storms. The rules of the form are applied by composers to produce individual pieces of music which can be performed. A singer recites nonsensical words and sounds while the music is played on two aritha. The musical voices bring melody with harmony. The melody has mid-length phrases throughout the form. It is performed using the datome scale. Throughout, when possible, composers and performers are to use mordents.

• The singer always does harmony.
• Each aritha always does the main melody and plays arpeggios. The voice uses its entire range from the strained low register to the wavering high register.
• The Tufted Mist has the following structure: one to two passages and another one to two passages.
• Each of the first simple passages should be made expressively and is very fast, and it is to become softer and softer. Each of the aritha covers its entire range from the strained low register to the wavering high register and the singer's voice stays in the high register. This passage features only melodic tones and intervals. Each passage is performed in the nanotha rhythm.
• Each of the second simple passages should be made with a light touch and is slow, and it is to be soft. Each of the aritha covers its entire range from the strained low register to the wavering high register and the singer's voice stays in the middle register. Only one pitch is ever played at a time in this passage. Each passage is performed in the mifava rhythm.
• Scales are conceived of as two chords built using a division of the perfect fourth interval into eleven notes. The tonic note is fixed only at the time of performance. Preferred notes in the fundamental scale are named. The names are thuna (spoken thu, 1st), arazi (ar, 4th), fidale (fi, 7th) and tarathe (ta, 9th).
• As always, the datome hexatonic scale is thought of as two disjoint chords drawn from the fundamental division of the perfect fourth. These chords are named datha and thili.
• The datha tetrachord is the 1st, the 4th, the 8th and the 11th degrees of the fundamental perfect fourth division.
• The thili trichord is the 1st, the 7th and the 11th degrees of the fundamental perfect fourth division.
• The nanotha rhythm is made from two patterns: the upe and the etini. The patterns are to be played over the same period of time, concluding together regardless of beat number.
• The upe rhythm is a single line with two beats. The beats are named amama (spoken am) and thafatha (tha). The beat is stressed as follows:
• | - x |
• where x is a beat, - is silent and | indicates a bar.
• The etini rhythm is a single line with eight beats divided into two bars in a 4-4 pattern. The beat is stressed as follows:
• | - - - x | - x x - |
• where x is a beat, - is silent and | indicates a bar.
• The mifava rhythm is made from two patterns: the dinade and the aveya. The patterns are to be played over the same period of time, concluding together regardless of beat number.
• The dinade rhythm is a single line with four beats. The beats are named cenopu (spoken ce), ele (el), timafi (ti) and emu (em). The beat is stressed as follows:
• | - x - - |
• where x is a beat, - is silent and | indicates a bar.
• The aveya rhythm is a single line with two beats. The beats are named mafina (spoken ma) and pama (pa). The beat is stressed as follows:
• | - x |
• where x is a beat, - is silent and | indicates a bar.

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