The Wholegrain Hazelnuts

The Wholegrain Hazelnuts is a form of music used for entertainment originating in The Focal Systems. The rules of the form are applied by composers to produce individual pieces of music which can be performed. A chanter recites nonsensical words and sounds while the music is played on a utogoto and a agenpustrim. The musical voices cover melody, harmony and rhythm. The entire performance is very slow. The melody has phrases of varied length throughout the form. It is performed using the vuthrilsim scale and in free rhythm. Throughout, when possible, composers and performers are to locally improvise, add fills, alternate tension and repose and play legato.

• The utogoto always should bring a sense of motion and plays rapid runs.
• The agenpustrim always should perform with feeling.
• The Wholegrain Hazelnuts has a well-defined multi-passage structure: an introduction and one to two passages and an additional passage.
• The introduction is voiced by the melody of the utogoto, the rhythm of the chanter reciting nonsensical words and sounds and the rhythm of the agenpustrim. The passage is to be very loud. The utogoto ranges from the wispy low register to the strained middle register and the chanter's voice stays in the high register. This passage features only melodic tones and intervals. The passage should always include a rising melody pattern with sharpened third degree as well as mordents, sometimes include a rising-falling melody pattern with sharpened second degree on the rise as well as rapid runs and always include a falling-rising melody pattern with mordents, arpeggios and staccato.
• Each of the first simple passages is voiced by the melody of the agenpustrim and the harmony of the utogoto. Each passage is to be moderately loud. The utogoto covers its entire range from the wispy low register to the eerie top register. This passage features only melodic tones and intervals. Each passage should sometimes include a falling melody pattern with flattened third degree, often include a rising-falling melody pattern with glides, often include a rising melody pattern with sharpened fourth degree and always include a falling-rising melody pattern with trills and staccato.
• The second simple passage is voiced by the melody of the chanter reciting nonsensical words and sounds, the melody of the utogoto and the harmony of the agenpustrim. The passage is to be moderately loud. The chanter's voice covers its entire range and the utogoto ranges from the dark high register to the eerie top register. This passage is richly layered with full chords making use of the available range. The passage should sometimes include a rising-falling melody pattern.
• Scales are conceived of as two chords built using a division of the perfect fourth interval into eight notes. The tonic note is a fixed tone passed from teacher to student.
• As always, the vuthrilsim hexatonic scale is thought of as two disjoint chords drawn from the fundamental division of the perfect fourth. These chords are named ohug and equanamsespe.
• The ohug tetrachord is the 1st, the 3rd, the 4th and the 8th degrees of the fundamental perfect fourth division.
• The equanamsespe trichord is the 1st, the 6th and the 8th degrees of the fundamental perfect fourth division.

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