If you've heard of any musical conlang, it's almost definitely Solresol (or maybe Moss?). Musical conlangs have very little presense in the "mainstream" of constructed languages; as such, there are very few examples to serve as guides. When I decided to make a musical conlang, I didn't really have a destination in mind, but this is where I arrived.
This is equivalent to the phonology section of a spoken conlang. In the left column is the note (relative to a C5 root note), and in the middle colum is how the note is transcribed using a modified Solfège.
There are four lengths of rests: no rest (not transcribed), 1/4 rest (-), 1/2 rest (-.), 3/4 rest (--). When the rest is at the end of a sentence, the final note is held through its duration. Hyphens and full-stops may be substituted with tildes (~) and asteriks (*) for aesthetic reasons.
Declension in DJ happens by taking a given 3-note root word and fitting it to the rhythm of the declension. Verbs in DJ decline as either past or non-past. Expectidly, a non-past tense verbs is any verb that hasn't already taken place, whereas a past tense verb has. Verbs marked as continuous have a focus on their reoccurence in the same sense as saying "used to" to refer to reoccuring past events in English. Discontinuous verbs are the opposite, bearing focus on their instantaneity. Verbs marked as impossible are just that, events which the speaker believes can not happen.
Nouns decline to 4 different rhythms. The fourth is used to adjectivise nouns.
In DJ there are 9 particles for indicating the grammatical person of the subject and object of the verb. The particles are always placed at the beginning of their clause. The 3NOM-3ACC particle doremi- is only used when the same entity is both the subject and object of the clause.
In DJ there are 4 conjunctions for organising clauses:
- do-to- (A is true despite B)
- to-do- (because of A, B is true)
- la-to- (A is contradicted by B)
- to-la- (A and B are true and related ideas)