The Fruitless Quinoa-Grain

The Fruitless Quinoa-grain is a form of music used for entertainment originating in The Lawmaker of Peanuts. The form guides musicians during improvised performances. A chanter recites any composition of The Yellow-Zircon of Canyons. The entire performance is moderately paced. The melody has mid-length phrases throughout the form. Only one pitch is ever played at a time. The music repeats for as long as necessary. It is performed in the ciki rhythm. Throughout, when possible, performers are to glide from note to note and use grace notes.

• The chanter always does the main melody and is to become louder and louder.
• The Fruitless Quinoa-grain has the following structure: an introduction and a passage.
• The introduction should be passionate. The chanter's voice ranges from the middle register to the high register. The passage is performed using the shudash scale.
• The simple passage should be made with skill. The chanter's voice stays in the middle register. The passage is performed using the xathrato scale.
• Scales are constructed from twelve notes spaced evenly throughout the octave. The tonic note is a fixed tone passed from teacher to student.
• The shudash pentatonic scale is thought of as two disjoint chords spanning a perfect fifth and a major third. These chords are named ohural and iquur.
• The ohural trichord is the 1st, the 5th and the 8th degrees of the semitone octave scale.
• The iquur trichord is the 9th, the 12th and the 13th (completing the octave) degrees of the semitone octave scale.
• The xathrato hexatonic scale is thought of as two disjoint chords spanning two perfect fourths. These chords are named pethrebinpu and uthrogumat.
• The pethrebinpu trichord is the 1st, the 4th and the 6th degrees of the semitone octave scale.
• The uthrogumat tetrachord is the 8th, the 9th, the 10th and the 13th (completing the octave) degrees of the semitone octave scale.
• The ciki rhythm is made from two patterns: the emsor and the bokem. The patterns are to be played in the same beat, allowing one to repeat before the other is concluded.
• The emsor rhythm is a single line with sixteen beats divided into eight bars in a 2-2-2-2-2-2-2-2 pattern. The beat is stressed as follows:
• | x x | x x | x - | x x | - x | - x | x - | - x |
• where x is a beat, - is silent and | indicates a bar.
• The bokem rhythm is a single line with seven beats. The beat is stressed as follows:
• | - - - - x - - |
• where x is a beat, - is silent and | indicates a bar.

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