The Mauve Glimmer

The Mauve Glimmer is a form of music used to commemorate important events originating in The Confederacy of Abbeys. The form guides musicians during improvised performances. A chanter recites any composition of The Teal Tundra while the music is played on a bewa. The music is melody and rhythm without harmony. The entire performance is to be very soft. The melody has mid-length phrases throughout the form. Only one pitch is ever played at a time. It is performed in the kaslal rhythm. Throughout, when possible, performers are to glide from note to note, modulate frequently and match notes and syllables.

• The chanter always does the main melody and makes trills.
• The bewa always provides the rhythm.
• The Mauve Glimmer has a well-defined multi-passage structure: an introduction and a passage and another one to two lengthy passages.
• The introduction should be passionate and slows and broadens. The chanter's voice stays in the middle register. The passage is performed using the nithros scale.
• The first simple passage should be bright and accelerates as it proceeds. The chanter's voice stays in the middle register. The passage is performed without preference for a scale.
• Each of the second simple passages should be jumpy and is extremely fast. The chanter's voice ranges from the low register to the middle register. Each passage is performed using the shato scale.
• Scales are constructed from twenty-four notes spaced evenly throughout the octave. The tonic note is fixed only at the time of performance.
• The nithros hexatonic scale is thought of as joined chords spanning a perfect fifth and a perfect fourth. These chords are named thad and ramet.
• The thad tetrachord is the 1st, the 6th, the 13th and the 15th degrees of the quartertone octave scale.
• The ramet tetrachord is the 15th, the 17th, the 22nd and the 25th (completing the octave) degrees of the quartertone octave scale.
• The shato hexatonic scale is thought of as two disjoint chords spanning a tritone and a perfect fourth. These chords are named nek and othag.
• The nek trichord is the 1st, the 8th and the 13th degrees of the quartertone octave scale.
• The othag tetrachord is the 15th, the 16th, the 23rd and the 25th (completing the octave) degrees of the quartertone octave scale.
• The rhythm system is fundamentally polyrhythmic. There are always multiple rhythm lines, and each of their bars is played over the same period of time, regardless of the number of beats. The rhythm lines are thought of as one, without a primary-subordinate relationship, though individual lines can be named.
• 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 kaslal rhythm is made from two patterns: the noloc and the hiner. As stated above, they are to be played in polyrhythm.
• The noloc rhythm is a single line with four beats. The beats are named kes (spoken ke), suku (su), rorec (ro) and musda (mu). The beat is stressed as follows:
• | x x - - |
• where x is a beat, - is silent and | indicates a bar.
• The hiner rhythm is a single line with two beats. The beat is stressed as follows:
• | x - |
• where x is a beat, - is silent and | indicates a bar.

Events