The Rosy Cashew

The Rosy Cashew is a form of music used to commemorate important events originating in The Pincers of Moving. The form guides musicians during improvised performances. A chanter recites nonsensical words and sounds while the music is played on a angbir. The music is melody and rhythm without harmony. The entire performance is to become softer and softer. The melody has long phrases throughout the form. It is performed using the mudesod scale and in the orramoth rhythm. Throughout, when possible, performers are to use grace notes, make trills and add fills.

• The chanter always should perform sweetly.
• The angbir always should perform sweetly.
• The Rosy Cashew has a well-defined multi-passage structure: a theme, a bridge-passage and one to two lengthy series of variations on the theme possibly all repeated.
• The theme is voiced by the melody of the chanter reciting any composition of The Fir-cone of Acorns and the melody of the angbir. The passage is very slow. The chanter's voice stays in the middle register and the angbir stays in the sparse low register. This passage features only melodic tones and intervals.
• The bridge-passage is voiced by the melody of the angbir and the rhythm of the chanter reciting any composition of The Rose of Wreaths. The passage is slow. The angbir covers its entire range from the sparse low register to the liquid high register and the chanter's voice ranges from the middle register to the high register. Chords are packed close together in dense clusters in this passage.
• Each of the series of variations is voiced by the melody of the chanter reciting nonsensical words and sounds. Each passage is very fast. The chanter's voice covers its entire range. Only one pitch is ever played at a time in this passage.
• 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 mudesod pentatonic scale is thought of as two disjoint chords drawn from the fundamental division of the perfect fourth. These chords are named kekorith and tinos.
• The kekorith trichord is the 1st, the 2nd and the 8th degrees of the fundamental perfect fourth division.
• The tinos trichord is the 1st, the 4th and the 8th degrees of the fundamental perfect fourth division.
• The orramoth rhythm is made from two patterns: the erith and the rilgush. The patterns are to be played over the same period of time, concluding together regardless of beat number.
• The erith rhythm is a single line with three beats. The beats are named binmonor (spoken bi), gubolil (gu) and tethan (te). The beat is stressed as follows:
• | x x x |
• where x is a beat and | indicates a bar.
• The rilgush rhythm is a single line with two beats. The beat is stressed as follows:
• | - x |
• where x is a beat, - is silent and | indicates a bar.

Events