The Luxurious Bewilderment

The Luxurious Bewilderment is a form of music used to commemorate important events 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 any composition of The Twilight of Rock. The melody has short phrases throughout the form. Only one pitch is ever played at a time. It is performed in the licesi rhythm. Throughout, when possible, composers and performers are to play rapid runs and alternate tension and repose.

• The singer always does the main melody, should be spirited and is to be very loud.
• The Luxurious Bewilderment has a well-defined multi-passage structure: a first theme, an exposition of the first theme, a bridge-passage, a brief second theme, a lengthy exposition of the second theme and a synthesis of previous passages.
• The first theme is moderately fast. The singer's voice stays in the middle register. The passage is performed using the lari scale.
• The first exposition is at a free tempo. The singer's voice stays in the low register. The passage is performed using the yaniye scale.
• The bridge-passage slows and broadens. The singer's voice covers its entire range. The passage is performed using the lari scale.
• The second theme moves more quickly than the last passage. The singer's voice covers its entire range. The passage is performed using the aratha scale.
• The second exposition is extremely fast. The singer's voice covers its entire range. The passage is performed using the atho scale.
• The synthesis is slower than the last passage. The singer's voice ranges from the low register to the middle register. The passage is performed using the fena scale.
• 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 lari hexatonic scale is thought of as two disjoint chords drawn from the fundamental division of the perfect fourth. These chords are named adi and fela.
• The adi tetrachord is the 1st, the 5th, the 7th and the 11th degrees of the fundamental perfect fourth division.
• The fela trichord is the 1st, the 5th and the 11th degrees of the fundamental perfect fourth division.
• As always, the yaniye heptatonic scale is thought of as two disjoint chords drawn from the fundamental division of the perfect fourth. These chords are named adi and fathinu.
• The fathinu tetrachord is the 1st, the 3rd, the 5th and the 11th degrees of the fundamental perfect fourth division.
• As always, the aratha pentatonic scale is thought of as two disjoint chords drawn from the fundamental division of the perfect fourth. These chords are named eyo and fela.
• The eyo trichord is the 1st, the 5th and the 11th degrees of the fundamental perfect fourth division.
• As always, the atho 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 tetrachord is the 1st, the 3rd, the 7th 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.
• As always, the fena hexatonic scale is thought of as two disjoint chords drawn from the fundamental division of the perfect fourth. These chords are named eyo and fathinu.
• The licesi rhythm is made from two patterns: the dinade (considered the primary) and the upe. 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 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.

Events