Xitheria Note

This Song Note was created by Augusta21, and has made its debut in two different worlds and settings. In the world of Ari'Vecielm, it is one of the notes that is invented by Altheumelia herself. In another series and universe known as Pantha Rhei, a girl named Althaea is the creator of it.

Alternate History- Altheumelia
The dialect was created by Altheumelia Exeli Precielm as one of her projects. During her time, she was connected to the Clusternia Note Server Satellite, Quon Desila, but she found the Clusternia Note dialect to be too difficult for her. It did have a wide array of emotion inputs, but the pronunciation was difficult. It had 2 problems. These factors were not what met Altheumelia's standards and expectations. What she expected and wanted was a dialect that could instantly manifest a song's effects and the feelings within it at full capacity, without being affected by being used alongside other dialects. Eventually she began her projects, and after 4 months, she created the Xitheria Note, the fruit of her project. Using the inhabitable colony satellite she created with Song Magic, Ethesecta, she created and installed Xitheria's Cielaserver into Ethesecta, turning the said into also a Server Satellite. The dialect was created using several elements from Clusternia Note, Arlesong Note and programming languages like Tek Riafa and REON-4213, and became the main dialect for the Genom, --the children born by her subconsciousness and unconscious feelings, --of Ethesecta, the human refugees that Altheumelia took under her wing, and for the organization she founded alongside several friends, --the Alixirum, -- to utilize for their Song Magic while Synchronized to Exapico and Amuelia through Ethesecta.
 * Low processing- When the note was created, the Clusternia Note had so many emotion inputs stored in memory, which resulted in Quon Desila's Cielaserver taking a either a long or somewhat medium level of time to fully process the lyrics of it. This would eventually that instead of the song's effects instantly materialising, the effects would take time to charge and appear. This simply means that the song would be longer than normal.
 * The dialect had difficulty being compatible with other languages. An example of this is the song MODILUM::Alphomega. Alphomega is a song of Clusternia Note and Romaji, but since Romaji is also used in the song, the Clusternia Note Server has problems attempting to manifest and decode the feelings behind the other languages used. This would mean that the song's power is fully enhanced and stronger than usual, but the downside of this is a longer time to fully manifest.

Grammar
Each dialect has its own and unique phonation and phonation of letters, and Xitheria is no exception to this. Below are a list of the phonation of the letters of the language, and their IPAs are based on the normal version. It is heavily influenced by German, Japanese, Korean and Chinese phonology.

Concept Sounds (CS)
Concepts Sounds are a special case of Vowel Letters used in Status Verbs (S.V.) to modify the verb. Every S.V. has four letters and four banks for the Concept Sounds. This concept was derived from Clusternia Note, and the creator decided to use only vowels, since consonants would cause difficult pronunciation. As listed above, there are 4 columns, each having its own list and category. The Concept Sounds are consisted of vowels, and are used in Status Verbs.

'''The 1st class is the performer. This shows who performs the action (or is targeted by it if passive/reflexive).''' '''The 2nd class is time. This shows which time the action is being executed in, and has additional forms as well.''' The 3rd class is the performer's knowledge of the action. The 4th class is the action's state, or (sometimes) the action's target, though the former is used more. As you can see above, there is both the informal and formal cases. The reason for the two cases is so that the singer can express the status in society when using the Note. They can also be used to indicate status and position in society and among others, and to express a person's view on someone's status/position in society. It is like Japanese with the suffixes of '-chan', '-kun', '-dono', '-san' and '-sama' used in their sentences, except that such type of suffixes aren't used in this dialect.
 * (A) represents 1st person/P.O.V., which means the words 'I' and/or 'me' are used. Most commonly used.
 * (EA) used to indicate that the subject performer in the sentence/paragraph is a female.
 * (E) Indicates that an inanimate object or a quality/concept is performing the action.
 * (EI) used to indicate that the subject performer in the sentence/paragraph is a male.
 * (I) Indicates 2nd P.O.V., where the words 'you' are used.
 * (IA) Indicates a plural form of 2nd P.O.V., which means that more than just one 'you' are performing the action.
 * (IE) Indicates that a heavenly/spiritual being is performing this action.
 * (II) used to indicate a being who has a pronoun is doing it.
 * (O) used not very commonly, and its 3rd P.O.V. can have many meanings.
 * (U) Indicates that a creature (non-human/has beastly qualities) is performing the action. An example of such creatures would be dogs, birds and such.
 * (UA) pluralised form of 1st Person, indicating that 'I' is not alone and is carrying the act with others.
 * (blank) indicates that the actions is performed right now.
 * (A) This is the normal form for the 3rd class.
 * (blank) indicates that the action is performed normally.
 * (A) indicates that the target of the action is a person/subject/object with a pronoun/name/significant role.
 * (E) indicates that the action has a passive condition. When passive, it changes the meaning of 'to do' into 'to be (action) by...'.
 * (I) indicates that the action is reflexive, meaning that the performer is committing the act upon his or herself.
 * (N) indicates that the performer doesn't/does not commit the action.
 * (O) means that the action's target is the entire audience and/or society.
 * (U) means that the action's target is the 2nd P.O.V subject (you).
 * (UI) means that the target of the action is the performer's surroundings, territory or within an unspecified amount of area.

Sentence Structure
Xitheria Note sentences usually go like this: (E.1)/(E.2)=(E.3):/:(xxx)>>(yyy)->{(zzz)}/: (E.)- Emote(s) (xxx)- Sentence (yyy)- Energy Flow Symbol (zzz)- Energy Source

'''acri/fes=ye:/: hAyAmnA ar'hymete_ethion! >>CLS->{Tz155UYA}/:''' (Very much)(Happiness)(I want it to last):/:(hAyAmnA= I sing in the future normally)(the + song)_(god) >> CLS (Normal Execution) -> (Tz-Wave mode set to Lv. 1, Light Mode) (I shall very happily sing the song of god!) That is just the natural form of the dialect. Xitheria has more forms of grammar structure than one.

Line Separation
We have seen the usual grammar form of this note, now let's go deeper in depth. In Xitheria, it uses grammar highly similar to the REON-4312 language of Ar Nosurge and Ciel Nosurge, which is line separation. Basically, line separation is when a whole sentence is broken into lines, separated and stacked upon each other. acri/aniska=ye:/:{ } hAyAmnA ->{vosa} }=->{   } hymete_vhisharia { }>>CLS->{U155UKHA}/:   (In a state of deep meditation, I sing to you with the song of love)

Eingeist Protocol
Xc::[EI_P]=(Full name of singer)>>(server name)/; {->} {protocol code}<=>{protocol code No. 2}=> 59147591920 -> 00100011 The Eingeist Protocol is a structure used when switching energy or system protocols between two targets, which are the singer and the other.

Repolum Protocol
[EXECUTE]::(REPOLUM=P)-> 1x10 { }{name of Server connected to}->{name of object/singer(s) being transported} }>> ADDR::0x{location} => ADDR::1x{destination code} }<-x{name of destination}>>DIR->{RW:LW:KW} The Repolum Protocol is a Protocol Form used mainly for inputting coordinates and enabling safe and accurate warp travel. It also can be used to send energy from between servers.

Incioris Protocol
The Incioris Protocol is a protocol sentence form used optionally in songs as a way of enhancing and defining the song's power and functions more clearly and sharply, giving the song a much more accurate and powerful edge and level of intensity, but it also comes with the fact that by using this protocol in the song, the singer will feel a drain of energy. The more targets, energy sources, or commands in the song, the more energy is taken and used to perform the song's power and functions. hhh zzz:AAA-BBB_CCC.EEE//YYY_XXX::TD_ID::yyyyyy >> nnnnnn_//uuuuuu_/

1st Stage: Energy Flow (hhh)

 * (@=>)- Pronounced "rishari". Most basic and simplest of all Flow Statements. Merely states "singer -> target".
 * (#\>>)- Pronounced "lishora", allows the singer's energy to enter and pilfer/alter target's mind, program or data.
 * (#=<>)- Pronounced "palior", executes command in vicinity briefly before returning back to singer as energy.

2nd Stage: Emotion (zzz)
In the 2nd Stage, it is easy to form the Emotion Statement. You can either use the Arlesong Emotion Sounds or the Xitheria Emotion Sounds.

3rd Stage: Song State (AAA)
This stage describes how the song was crafted, and how its power will be channel and used.

4th Stage: Song Server/Energy Source (BBB)
If the Song is from a Song Server, that all that has to be done is place the Server's name into there. However, if it is not from the Servers, then it must be described how, where and what it is. Usually you can choose which server to draw power from, but it mostly depends on which server you are connected to.

5th, 6th and 7th Stage (CCC, EEE and YYY)
The 5th, 6th and 7th Stages are easy enough. The 5th only requires the full name of the song. The 6th Stage is the same as the former if the target has a name; if not, then use words either from the Xitheria, Clusternia or Arlesong Notes. The same applies to the 7th Stage, which is basically a command. English commands can be used, but that reduces the song's power a fair level. Therefore, it is best advised to use words from the mentioned before for good results. Also, know that the more commands, the more energy is used.

12th Stage (uuuuuu)
The final stage is optional, and is where the song's special effects and value of power can be stated within the song. English can be used, but this language's own words are more preferred.

Energy Sources
Energy sources are usually depicted in sentences and statements, but can also be excluded from the sentence if the sentence itself doesn't invoke/require any energy. They are used well in succession with the 'CLS' command, but can also be used for others.

Levels of Command
Now, let's go on to the second level. You have noticed the "(---)" part between the letter behind them and the small letter after them, yes? That part is a bank where you would put the level of the action. That is to say, what type of action and effect the energy will have depending on the number you place in the bank. For example:

{Hz155UA} (hez-aria-ra) (I input the HzW Formula and the Command with the Superscript Code 155U! I enter the Command: TELEPATHY/CONNECTION!)

The formula now says that Hz-Waves are being used for the song's energy, and the superscript part, "155U". HzW in "155U" falls in the command category of "Telepathy/Connection". To put it in simple words, HzW is being used to invoke Telepathy/Connection.

Numeracy
As you have noticed in the chart above, the numerals have 2 forms: prefix or suffix.

Examples: 141518131- enepiri fiedemi decil fijberi tumil olihilja cent tigadese uni 1821- etode oliston dfadese uni 12965- tumil dfahilja tiseston zesdese quin 16- dece seli 1302- etode tigaston dua 201514- dfaberi etode fijston dece quas 161856924- enepiri zesdemi decil oliberi fijbag zeshilja tiseston dfadese quas

Songs
Songs that use the Xitheria Note Dialect are called EXIMs. The basic structure of those songs and their names would be like this: EXIM/::(yyy:)/_xxxxxx

The song's name would be written in normal form, with the starting letter as a capital. Names ends with (/.).

Codes (yyy:)
Codes are an optional choice in the Song's File Title Extension, are mostly ignored. When used, they can enhance and empower the song's functions. The Song itself has its own functions defined by the singer's emotions and thoughts, but using the Codes can increase that function's capability, like an upgrade, or tempering a weapon to increase and enhance its quality. The most unique feature of the Codes is that they are spoken not in normal speech, but in frequencies, sound and tunes. For example, lets look at the one of the most commonly used Codes: 1A. '1A' has a tune that sounds like surging seas. The tunes also vary in sound, pitch, noise and frequency, and each Code has its own unique frequency.

EXIM_/::E3Ge2H:/_Alphomega

Lexicon
To see the list of known words in the Xitheria Note dialect, please go to Xitheria Note/Lexicon.