The Fruity Passion-Fruit

The Fruity Passion-fruit is a form of music used during marches and military engagements originating in The Infamy of Weaklings. The form guides musicians during improvised performances. A singer recites any composition of The Peremptory Prime-Number while the music is played on a erxusp and a morngu. The music is melody and rhythm without harmony. The entire performance should evoke tears, and it is to become louder and louder. The melody has mid-length phrases throughout the form. It is performed using the obungasnu scale and in the odsuxu rhythm. Throughout, when possible, performers are to play rapid runs.

• The singer always does the main melody.
• The erxusp always provides the rhythm.
• The Fruity Passion-fruit has a well-defined multi-passage structure: an introduction and a passage and an additional passage.
• The introduction is voiced by the melody of the singer and the rhythm of the erxusp. The passage is moderately paced. The singer's voice stays in the middle register. Only one pitch is ever played at a time in this passage. The passage should be performed using syncopation.
• The first simple passage is voiced by the melody of the singer, the rhythm of the erxusp and the rhythm of the morngu. The passage is very slow. The singer's voice covers its entire range. This passage features only melodic tones and intervals. The passage should be performed using syncopation.
• The second simple passage is voiced by the melody of the singer, the rhythm of the erxusp and the rhythm of the morngu. The passage is very slow. The singer's voice covers its entire range. This passage typically has some sparse chords.
• Scales are constructed from twenty-four notes spaced evenly throughout the octave. The tonic note is a fixed tone passed from teacher to student. After a scale is constructed, the root note of chords are named. The names are omuslone (spoken om) and gul (gu).
• The obungasnu hexatonic scale is thought of as joined chords spanning a perfect fifth and a perfect fourth. These chords are named uturo and tekug.
• The uturo pentachord is the 1st, the 4th, the 7th, the 11th and the 15th degrees of the quartertone octave scale.
• The tekug trichord is the 15th, the 17th and the 25th (completing the octave) degrees of the quartertone octave scale.
• The odsuxu rhythm is made from two patterns: the nesu (considered the primary) and the ulong. The patterns are to be played in the same beat, allowing one to repeat before the other is concluded.
• The nesu rhythm is a single line with seventeen beats divided into three bars in a 6-6-5 pattern. The beat is stressed as follows:
• | x - x - - - | - - X x`x x | - x x - - |
• where X marks an accented beat, ` marks a beat as early, x is a beat, - is silent and | indicates a bar.
• The ulong rhythm is a single line with four beats divided into two bars in a 2-2 pattern. The beat is stressed as follows:
• | x - | - x |
• where x is a beat, - is silent and | indicates a bar.

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