The Einkorn-Grain of Sand-Pears

The Einkorn-grain of Sand-pears is a form of music used during marches and military engagements originating in The Focal Systems. The form guides musicians during improvised performances. A speaker recites any composition of The Potential Father while the music is played on a utogoto. The musical voices are joined in melody. The melody has long phrases throughout the form. It is performed in free rhythm. Throughout, when possible, performers are to alternate tension and repose.

• The speaker always should evoke tears.
• The utogoto always does the main melody.
• The Einkorn-grain of Sand-pears has a well-defined multi-passage structure: a theme, a lengthy exposition of the theme, a bridge-passage, a recapitulation of the theme and a coda.
• The theme is at a hurried pace, and it is to be moderately soft. The utogoto is confined to the eerie top register. Chords are packed close together in dense clusters in this passage. The passage is performed using the shudash scale.
• The exposition is at a hurried pace, and it is to be very soft. The utogoto covers its entire range from the wispy low register to the eerie top register. Chords are packed close together in dense clusters in this passage. The passage is performed using the xathrato scale.
• The bridge-passage gradually slows as it comes to an end, and it is to start loud then be immediately soft. The utogoto is confined to the strained middle register. Chords are packed close together in dense clusters in this passage. The passage is performed using the desle scale.
• The recapitulation is moderately fast, and it is to become louder and louder. The utogoto ranges from the wispy low register to the strained middle register. This passage is richly layered with full chords making use of the available range. The passage is performed without preference for a scale.
• The coda is moderately fast, and it is to be soft. The utogoto ranges from the strained middle register to the eerie top register. Chords are packed close together in dense clusters in this passage. The passage is performed using the furithali scale.
• 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 shudash heptatonic scale is thought of as two disjoint chords drawn from the fundamental division of the perfect fourth. These chords are named mushast and othdo.
• The mushast tetrachord is the 1st, the 4th, the 7th and the 8th degrees of the fundamental perfect fourth division.
• The othdo tetrachord is the 1st, the 3rd, the 4th and the 8th degrees of the fundamental perfect fourth division.
• As always, the xathrato heptatonic scale is thought of as two disjoint chords drawn from the fundamental division of the perfect fourth. These chords are named ohug and ibalarek.
• The ohug tetrachord is the 1st, the 3rd, the 4th and the 8th degrees of the fundamental perfect fourth division.
• The ibalarek tetrachord is the 1st, the 2nd, the 5th and the 8th degrees of the fundamental perfect fourth division.
• As always, the desle heptatonic scale is thought of as two disjoint chords drawn from the fundamental division of the perfect fourth. These chords are named mushast and iquur.
• The iquur tetrachord is the 1st, the 4th, the 7th and the 8th degrees of the fundamental perfect fourth division.
• As always, the furithali heptatonic scale is thought of as two disjoint chords drawn from the fundamental division of the perfect fourth. These chords are named mushast and oruslumcopo.
• The oruslumcopo tetrachord is the 1st, the 3rd, the 6th and the 8th degrees of the fundamental perfect fourth division.

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