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Lesson 3: Understanding Chords Part 2
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Looking further into the nuances of conveying emotion through chords.
This public article was written by [Deactivated User], and last updated on 4 May 2017, 16:55.

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In Understanding Chords, the basic structure of the Lamallu chord system was introduced. Next is the more complicated way of applying additional chords and changing pitches to reflect how one feels about a word or phrase.

Chords express the speaker's emotion, just as a human's tone of voice does.

Lamallu does not translate personal statements of emotion such as "I am happy" or "I walked angrily". Emotional adverbs are cued with a special suffix (-tū) attached to the end of a conjugated verb, and a chord or combination of chords. Direct statements of personal emotion are translated as "I feel", with appropriate chords attached. However, when discussing someone else's emotions, direct word translations of emotions may be used.

Pitch Changing

áhigh pitch
āmid pitch
`alow pitch

In the dictionary, a word such as nēfalám (demon) automatically comes with some pitch markings. In the root pronunciation, certain chords are attached to these. Syllables that appear in the dictionary with a high pitch marking cannot change chords. However, they can change from a high pitch to a low pitch.

When talking in a formal setting or reporting things like news, facts, etc. without personal bias, all high pitched chords drop to a low pitch, and words must maintain their dictionary settings. Amarative and miristive case cannot be used in this setting.

nēfalám --> nēfal`am

Mid pitch syllables are much more flexible. They act mainly as placeholders for potential emotion, and can therefore be changed at will. A mid pitch chord can lift to a high pitch to bring out the emotional attachment. For example, if you wanted to express happiness regarding the Lamallu language, you would lift the mid D˚ .

Lámallū --> Lámallú

Chord Changing

Chord changes and additions are applied to the first available syllable in a word, including prefixed declensions or conjugations. As mentioned above, syllables that appear in the dictionary with a high pitch cannot change chords.

A word as it appears in the dictionary may not include the specific emotion you want to express, so a simple lifting of mid to high wouldn't work. The mid pitch marking of nēfalám is the emotion of loss, but if you wanted to express fear in regard to demons, you would both lift the mid pitch chord to a high pitch, and change the chord to B˜ .

What would you do to express emotion on a word like néfu (faith), which has only one unchangeable chord marked? Unstressed syllables act like mid pitch chords in the sense that they are open places to apply a new high pitch chord. Instead of raising a marked chord emotion that was already there to a high pitch to emphasize the emotion, a new chord must be added. For example, if you wished to express pride regarding faith, you would add a chord to the only other open letter and make it a high pitch Aˆ .

néfu --> néfú

Amarative and miristive are two noun cases which allow a specific expression of affection or enmity. These are the only exceptions to the rule limiting the changing of high pitch chords in the dictionary. These cases enact two changes in a word: first, the first syllable from the end of the word raises to high pitch if it is not already a high pitch chord. Then, that chord is changed to the one respective to each case.

Amarativelāmāl --> lāmál
Miristivelāmāl --> lāmál

Chord Intensifying and Doubling

There is no specific chord for every possible emotion, so sometimes, to express a more complex emotion, it is necessary to either intensify a natural chord to a sharp, or to put two chords on the same syllable. Intensified chords are useful in the sense that they express the more powerful form of the emotion they are based on; F♯ augmented expresses fury whereas natural F augmented expresses anger.

Complex emotions that are a mixture of various others are expressed through doubled chords, like an equation. A doubled chord consists of one high pitch and one mid pitch chord. It does not matter in a doubled chord which is high and which mid, what matters is that both of them occur at the same time.

Fˆ + G˜ = Fˆ G˜
anger + disgust = hatred

Doubled chords are also a work-around for the rule preventing root high pitch chords from changing. Doubling up a high pitch syllable with another chord can change the overall emotion expressed by the word itself. For example, the word nēfalám (demon) has a high pitch marking indicating sadness. Adding a mid pitch B minor chord (compassion) beneath it now expresses pity in this syllable.

[nA˜efalA˔am] --> [nA˜efalA˔am]
nēfalám --> nēfalā́m
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