The Vinous Grain

The Vinous Grain is a form of music used during marches and military engagements originating in The Funerary Malevolence. The rules of the form are applied by composers to produce individual pieces of music which can be performed. A singer recites any composition of The Cymose Exegesis while the music is played on a angmunos and a aguslusmorno. The music is melody and rhythm without harmony. The entire performance should be made expressively. The melody has short phrases throughout the form. It is performed using the ozzok scale and in the sangob rhythm. Throughout, when possible, composers and performers are to use grace notes.

• The singer always does the main melody and plays legato.
• The angmunos always provides the rhythm.
• The aguslusmorno always provides the rhythm.
• The Vinous Grain has a well-defined multi-passage structure: a brief passage and another one to two passages, a bridge-passage and a finale.
• The first simple passage is extremely fast, and it is to be moderately soft. The singer's voice stays in the high register. This passage features only melodic tones and intervals.
• Each of the second simple passages accelerates as it proceeds, and it is to be loud. The singer's voice stays in the middle register. This passage features only melodic tones and intervals.
• The bridge-passage is very fast, and it is to be moderately soft. The singer's voice covers its entire range. Chords are packed close together in dense clusters in this passage.
• The finale is slow, and it is to be moderately loud. The singer's voice ranges from the low register to the middle register. Chords are packed close together in dense clusters in this passage.
• Scales are constructed from twenty notes dividing the octave. In quartertones, their spacing is roughly 1-xxxx-x-xxxxxxx-xxxxxxxO, where 1 is the tonic, O marks the octave and x marks other notes. The tonic note is fixed only at the time of performance.
• The ozzok hexatonic scale is constructed by selection of degrees from the fundamental scale. The degrees selected are the 1st, the 6th, the 7th, the 9th, the 13th and the 16th.
• The sangob rhythm is made from three patterns: the bagurod (considered the primary), the uturo and the axslor. The patterns are to be played over the same period of time, concluding together regardless of beat number.
• The bagurod rhythm is a single line with thirty-two beats divided into eight bars in a 4-4-4-4-4-4-4-4 pattern. The beat is stressed as follows:
• | - x x - | x X - x | x x X x | x - - x | x - x - | - - x - | X x x - | x X x x |
• where X marks an accented beat, x is a beat, - is silent and | indicates a bar.
• The uturo rhythm is a single line with twenty-three beats divided into three bars in a 6-9-8 pattern. The beat is stressed as follows:
• | - x - x x X | - X x - x - x x - | x x ! - x - x - |
• where ! marks the primary accent, X marks an accented beat, x is a beat, - is silent and | indicates a bar.
• The axslor rhythm is a single line with thirty-two beats divided into eight bars in a 4-4-4-4-4-4-4-4 pattern. The beat is stressed as follows:
• | x - - x | X x x - | - x ! x | x x x X | - x x - | x X x x | - - x - | x x - X |
• where ! marks the primary accent, X marks an accented beat, x is a beat, - is silent and | indicates a bar.

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