Table of Contents

1...Title Page
2...Table of Contents
3...Author's Note
4...Foundations
5...The Wards of Our Fathers
6...Shine, Continuum
7...Mother Collective's Nursery Songs
8...Lullay, Lullau (The Nesting Song)
9...A Little Bolt of Lightning
10..The Willow & the Skylark
11..The Ugly Snowdrop

AUTHOR'S NOTE

Over the course of the year 433 C.E it was my greatest pleasure to serve
as an indentured musician underneath the Archon of Accord, Vivet Pavok
who tasked me with the collection of a variety of songs from the lower
castes of the Collective of Hallifax. In my service, I executed many
interviews to gather the information necessary to compose or transcribe
songs from their oral traditions to the feasible platform of literature.
The selection of songs that I have amounted are likely some of the more
prominent, especially the first three which were often repeated to me in
some similar fashion by most of the populous after a census on which of
the songs of the lower castes were the most memorable and effective in
increasing Higher Emotions and general output for the production of
their Wards and Precincts.

Also of note, some of the simplified rhymes and melodies from the Higher
Castes in the Symphonium have been devolved for the use of the lower
castes in order to better understand parts of caste daily life and other
tasks that they perform. This has been translated and relayed back to me
as being part of the oral compendium of 'Mother Collective's Nursery
Songs,' which as far as I can surmise was written by an anonymous lower
caste benefactor in the years that the Collective was seeking to
increase their population and extend their culture to even the most
basic of organisations, whether in the communes or the lesser cities of
the Basin. This benefactor had composed or simplified 'Lullay, Lullau
(The Nesting Song),' which is a variant on the Blue Berceuse with the
same purpose, though in a far more familiar key for the female voice. 'A
Little Bolt of Lightning,' is a scattered section of the Clear
Capriccio, while the two others are similarly arranged to other
Loralarian snatches of melody.

An exploration of these songs for further study after compiling them is
recommended to be fruitful in comprehending lower caste culture and its
importance overall within the Collective's far-reaching citizens. The
lyrical aspects of these songs give subtle cues to how the lower caste
view their work, not as mindless or without some sort of purpose other
than to serve the Higher Castes, but being the Foundation, the
ground-work for the Collective's success. In the eyes of the Collective,
all have a purpose and place - Thus it is for those who sing these
songs.

 

FOUNDATIONS

A song sung to the adolescents of the lower castes from their elders in
a meeting to exercise their understanding of the Song of Crys. This
uplifting song reminds those beginning in their journey of service to
know how much integration of their roles present a great impact to the
Collective's efficiency. The Counter-Chorus is to be used as call and
response for the adolescents to sing in response to each verse before
the chorus is sung by the elders.

The structure of this song is as follows as traditionally performed by
the first elders in the lower castes under Chairman Cririk Adom: V1, CC,
C, V2, CC, C, V3, CC, C, V4, CC, C, et all CC. An abridged version was
never intoned when I questioned the lower castes for their opinions and
remembrance of the lyrics.


COUNTER-CHORUS:


All we are, all that is
Our foundations to build and live

CHORUS:

There is no greater pleasure to see
The tallest of the spires built from beneath the trees
To rise and float amongst our clouds
From the foundations they shall forever stay, eternally

VERSE I:

We are but a single facet, of a crystal so bright,
The sheen apart dull and unrefined
Nothing is out of place when all are open
To build a construct for a more efficient State

VERSE II:
We are the wisps of dew that form the clouds
For each breeze upon us solidifies of true service
Every atom of ourselves invested into lifting up
Those who create our utopian ideals into reality

VERSE III:
We are but a single note, of a shimmering chord,
Incomplete without harmonic resonance
From birth our melody is a foundation for art to soar
Each variation upon is dissimilar and yet the same

VERSE IV:
We are the base of scientific progress yet to be made
Through our simple discoveries there is illumination
The voyage of knowledge thrives in steps on the path
A road lies ahead, that we have crafted for their sake

 

THE WARDS OF OUR FATHERS

Sung to commemorate the lost citizens which were concealed within the
aftermath of Hallifax lost within the lines of temporal anomaly, the
older of the lower castes have managed to recall their memories so that
I was able to compose and provide a libretto for this work. The
servants of the Master Artists provided most of the information to me,
and for such I owe them my utmost gratitude. The following is how the
caste's would perform it based upon their opinion and critique of my
work.

The ostonato would be sung by the younger sections of the lower castes,
while the elders would sing the verses. The women would sing the second
chorus, while men would remain with the first in this order:
O, O, O, VI, CI, O, CII, VII, CI, O, CII, VIII, C1, 0, C2, VIV, CI, CII,
0.

CHORUS I:

We return to the Wards of our Fathers
For we are their sons, and their daughters

CHORUS II:

To carry on, to build and seek
The silver lining of our Collective's belief

OSTANATO:

Comrade, do your hear? The gems that hum so clear!
They sound with the memory, of what was once long ago!

VERSE I:

Long ago, when the city faded into time's mist
The hours passed and shadows fell
Upon that first night lacked the crystal glow
There was no greater grief, all was lost

VERSE II:
But the memory of your service continued
For we who survived, remained
Upon our shoulders rises the Sovereign Nation
Captured in our Chairman's crystalline frame

VERSE III:
Thrum at full, Generators!
Ruby, Emerald Sapphire, Onyx,
Amethyst and Diamond all shine bright!
Let them see the progress, the beacon lit with civil light!

VERSE IV:
In duty there is sacrifice,
For trials are always coming,
So upon what you have built,
All shall rise in harmony


SHINE, CONTINUUM / SHINE, HALLIFAX

An apparent older favorite by the youths in the lower castes, this folk
song was ultimately designed to pass the time during any protocols that
involved sanitation or the cleaning of the Overcity. Gathered from the
lowest tiers of the Wards and Precincts, I have discovered this rhythmic
song was utilised to great effect to beat out hammering for mining, or
other various janitorial techniques to improve the overall aesthetics of
the natural surroundings and architecture. The tempo of the song would
depend upon the action of those performers in the moment who are
executing their tasks, denoted by cleaning objects or even the paltry
rhythm of a wetted mop or hard scrubbing brush.

The selected ostanatos - which are popular in lower caste songs to
create a sense of community - are interspersed so that those who are
just beginning in the caste can understand the important shapes and
sides of the entities that are located in the Continuum and each
gemstone involved. The ostanatos are used in call-and-response methods,
with a soloist doing the verses, while all sing the chorus and ostanatos
under the verses, this song's complexity reveals the nature of the lower
castes in daily life. At some point in the caste's history there was a
split or evolution in this song which can allow the interchanging of the
location of the Continuum to Hallifax. The order, according to the
custodians of peace and their recitation is as follows:

All ostanatos are sung underneath the verses, while the Ostanato group
joins in each chorus. The () notation separates the numeral notation
from V - Which in this case denotes 'verse.']

OI, OII, OIII

VI
VII
VIII
CHORUS
(V)IV
(V) V
(V)VI
CHORUS
(V)VII
(V)VIII
(V)VIV
CHORUS
 VX
 VXI
 VXII
-

OSTANATO I: Usually sung with a group of three, beginning the start of
each word]
Tet,
Hex,
Ico,
Do,
Oct,

OSTANATO II: And another group of three finishing the word]
Ra-hed-ron
Ah-hed-ron
Sa-hed-ron
decah-hed-ron
ah-hed-ron

OSTANATO III: [Before joining all together for the third Ostanato]

Tet-ra-hed-ron, Hex-ah-hed-ron,
Ico-sa-hed-ron, Do-dec-ah-ed-ron, Oct-ah-hed-ron!
Shine, Con-tin-u-um, Shine!

CHORUS: [All join on the Chorus]

Crystals glistening, skies 'neath joules twinkling
Shall charge the static yield
Precious gems, each color with meaning
We shall clean them, to perfection gleaming

VERSE I: [soli et all verses]

Stand bright, clean opals, once dull now polished
By our hands they are changed! Our protocols begin!

VERSE II:

Diamonds, each cut in fantastic design
Shimmer and sparkle, while our hands toil to see it so

VERSE III:

Lawful Onyx, judge us all by our trials
To see our work in the hands of true artists

VERSE IV:

The sanguine of our comrades is not forgotten, Bloodstone!
You shine in equality within the Collective

VERSE V:

As breeze upon a sunrise sky, you look, oh Amethyst
An artist's delight we gladly deliver

VERSE VI:

Revitalizing Emerald, you are unclean as well?
Come hammer, come brush, we shall refine you!

VERSE VII:

Introspection of the mind comes in waves, Sapphire,
In you, we see enigmas solved

VERSE VIII:

Ruby shall not yield, and like bloodstone we know always
The price of war, and its glory to our Collective

VERSE VIV:


Many paths diverge for Turquoise, its disguise unknown
Choose wisely, and reveal it 'neath its former filth

VERSE X:
Tranquil are the oceans of your depths, resilient Jade
Often we meditate upon your gentle splendour

VERSE XI:
Garnet, like'n to the Master's harvest wines
Our labour for their comfort 'til all is done!

VERSE XII:
Like the sun's shadow, how bright and serene is Beryl
The humming glow of the Beacon shall be as it was with you alit

 

MOTHER COLLECTIVE'S NURSERY SONGS

LULLAY, LULLAU (THE NESTING SONG)

Based upon the Blue Berceuse of Loralarian strains, this song is often
sung to children to calm them into slumber. Some citizens have mentioned
the peaceful nature of the key, and its soothing tones to see beasts of
the air and of the land become docile when aggression is within them.
The origin of this song is likely to be based upon the affection between
Trillilial and Xyl, the sharded Elders whose love was strong enough to
stretch until their passing - thus creating lucidians and trills as two
different species. It is even more likely, however, that the reaches of
this song begin with each of the first shards of the Elders telling a
story of their love to their sharded children for many decades, until it
evolved to a lullaby for the general masses.

VERSE I:

Lullay, Lullau
My little sweetlings,
The Night she rises,
Father Sun is breaking,
O'er the nest we shall fly
Settle now child, and close your eyes

CHORUS:

Lullay, Lullau
My precious children
Nestled close in my wings
Someday shall come,
And it will show
How love shall fly high
In our floating city lo?

VERSE II:

Lullay, Lullau
My little sweetlings,
Trillilial paints you
A dream for your keeping,
O'er the sigh of wind She watches
A mother's love protecting

VERSE III:

Lullay, lullau
Each darling-mine
Work awaits, but there is time
We will rise, but not yet
To serve great progress
Mother keeps you, sleeping close

VERSE IV:

Lullay lullau
Each darling-mine
Does Xyl teach you wonders?
When sleep-time comes thine?
O'er the spires He watches
Where you and I will play
 

A LITTLE BOLT OF LIGHTNING

While the lower castes dictated the possibility of this small little
tune sung to children about the importance of the Air Lords as well as
the changeable nature of lightning, there is some discrepancy whether or
not Inquisitor Rilan simply composed the rhyme for the sake of sharing
His knowledge of the Lord Architects penchant for the effects of storms.
Whether or not this folklore concerning the Inquisitor is true, I have
presented the rhyme in its most simplified version here in notation.

Without a chorus, the tune can easily be a variant on the same key upon
which Sky Sforzando is constructed which has been obviously muddled and
culturally adapted for the castes that know little of how the Song is
truly notated.


VERSE I:
I'm just a little bolt of light-ning
Hovering under a wispy cloud

VERSE 2:
I'm just a little bolt of light-ning
Waiting to strike some-body down

VERSE 3:
Where there is danger shall I, be
Protecting the Air Lords in the sky

VERSE 4:
And when I shall zap, Lord Zvoltz shall clap
When I make someone sizz-le and fry!

 

THE WILLOW & THE SKYLARK

A song of interaction, this piece was composed by those who would live
and labour just outside of the village Talthos, who would often see the
travel of many trill servants and other manner of avian species flitting
too and from the Collective in the light of dawn. This song is
especially sung in the farm-land in some early mornings to wake those
who toil fields with the skylark's soaring 'ah-ha, tra-la'
vocalisations.

WILLOW:

Wind in my leaves, rushing through t'breeze
Lifting and swaying, to see, the
Wondrous turns of you, little bird,
Flying alone in the cloud-puffs
From where have you come?
And what have you done?



SKYLARK:

Ah-hah, tra-la, tra-la?
Willow, see I, up in the sky,
Singing my song for the mor-ning,
Soon t'wil be done, just as the sun
Can I take rest, and make a nest
High up amongst your branch-things?

WILLOW:

Wind in my leaves, sun lowering sweet
O'er the line of the city,
If your work t'wil done, just as the sun
My branches be open to you
Their bark, though rough shall keep you

SKYLARK:
Ah-ha, tra-la, tra-la?
Willow, see I, up in the sky,
Sighing now that my work is ov-er,
I thank for the rest, and build this nest
From your green-leaf leaves
Another day shall I sing


WILLOW:

Ah-ha, tra-la? Tra-la!

SKYLARK:

A-huh, tra-la, tra-lah.


THE UGLY SNOWDROP

A simplified song for the lower castes concerning the belonging of a
small snowdrop in the winter's tide of snows, focusing upon how it is
the inner worth that is important and how it translates to collectivism.
The wisdom of Lady Jadice's tenets concerning grace, composure and that
each individual has their place in the design of the Realm is also
mentioned. This piece of lower caste folklore is for all intents and
purposes a rhyming song which educates even the youngest how they all
belong, regardless of their uniqueness, their aesthetic faults that in
the conclusion of all things are all glossed over in the perfection of
Her frost.

What is most curious about this nursery tune is - according to the Wards
and Precincts - that it is usually sung at the top of a mountain or cave
where reverberations and echoes can easily overlap to create an ethereal
atmosphere for the listener. While there is no chorus to speak of to tie
the entire song together, it is written in a certain way that ties the
story together.

VERSE I:

An ugly snowdrop fell from the sky
It was misshapen from its friends
That were drift and chill
Poor little ugly thing,
No will left to will

Echo: No will left to will?

VERSE II:

It wandered by gust and by gale
Rolling past hill and entrenched dale
'Does any-one think I belong?' It cried,
But no one replied

Echo: But no one replied.


VERSE III:

Til one day the sun hit the ground
And warmth it felt all around
Snowdrop was lost, it thought
In its ugly misshapen lot

Echo: In its ugly misshapen lot.

VERSE IV:

Until a Queen of beauty came
Wreathed in ice and tamed
The sun until it darkened
Scooping little 'drop, in hand

Echo: It's She, It's She, the Queen of Frost!

VERSE V:

'Little snowdrop, I have heard your plea,'
Said the Queen, most demurely,
With this She made snowdrop anew
'What am I now??' the snowdrop asked

Echo: What am I now?

VERSE VI:
'Why, you're a snowflake,' She said
'At last! At last!' it cried with joy
And She said, no smile employed

Echo: You already belong...

VERSE VII:

'You already belong, yet you are unique,
Your place shall be at my side to keep,
Forever in snow-white, you shall rest,
Grace and composure have been yours all along.'

Echo: You have been beautiful, all along.