The Nutty Blood-Amaranth-Grain

The Nutty Blood-amaranth-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 speaker recites The Conjectural Mind while the music is played on a ngon and a sustbax. The music is melody and rhythm without harmony. The entire performance should be passionate, and it is to start loud then be immediately soft. The melody has short phrases throughout the form. It is performed without preference for a scale.

• The ngon always adds fills.
• The sustbax always does the main melody.
• The Nutty Blood-amaranth-grain has a well-defined multi-passage structure: an introduction and a theme and a series of variations on the theme possibly all repeated.
• The introduction is voiced by the melody of the sustbax and the speaker. The passage is moderately fast. This passage features only melodic tones and intervals. The passage is performed in the sastospu rhythm.
• The theme is voiced by the melody of the sustbax, the rhythm of the ngon and the speaker. The passage moves more quickly than the last passage. Only one pitch is ever played at a time in this passage. The passage is performed in the obungasnu rhythm.
• The series of variations is voiced by the melody of the sustbax, the rhythm of the ngon and the speaker. The passage resumes the original tempo. Only one pitch is ever played at a time in this passage. The passage is performed in free rhythm.
• The sastospu rhythm is a single line with twenty-six beats divided into four bars in a 8-6-6-6 pattern. The beat is stressed as follows:
• | 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 obungasnu rhythm is made from two patterns: the bagurod (considered the primary) and the masul. 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 masul rhythm is a single line with eight beats. The beat is stressed as follows:
• | - - x x x x - X |
• where X marks an accented beat, x is a beat, - is silent and | indicates a bar.

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