The Cherry of Wines

The Cherry of Wines is a form of music used for entertainment originating in The Writ of Prodigies. The rules of the form are applied by composers to produce individual pieces of music which can be performed. The music is played on three ocen, a quiluc, a docnacat and a ekadothri. The musical voices join in melody and counterpoint, harmony and rhythm. The entire performance should feel mysterious. The counterpoint melody has long phrases throughout the form. Throughout, when possible, composers and performers are to glide from note to note, use mordents and alternate tension and repose.

• The quiluc always plays staccato.
• The docnacat always plays staccato.
• The ekadothri always plays staccato.
• The Cherry of Wines has a well-defined multi-passage structure: a lengthy introduction, a theme, a lengthy exposition of the theme and a recapitulation of the theme.
• The introduction is voiced by the melody of the ocen, the melody of the ekadothri and the harmony of the quiluc. The passage is moderately fast, and it is to be in whispered undertones. Each of the ocen ranges from the strident middle register to the wispy high register and the quiluc stays in the eerie high register. The passage has long phrases in the melody. Only one pitch is ever played at a time in this passage. The passage is performed using the furithali scale and in the iquin rhythm.
• The theme is voiced by the melody of the ocen, the melody of the docnacat, the counterpoint of the ekadothri and the rhythm of the quiluc. The passage is very slow, and it is to be soft. Each of the ocen stays in the wispy high register and the quiluc covers its entire range from the raucous low register to the eerie high register. The passage has mid-length phrases in the melody. Chords are packed close together in dense clusters in this passage. The passage is performed using the shudash scale and in the emsor rhythm.
• The exposition is voiced by the melody of the quiluc, the melody of the ekadothri and the harmony of the ocen. The passage is very slow, and it is to be soft. The quiluc stays in the raucous low register and each of the ocen covers its entire range from the rippling low register to the wispy high register. The passage has short phrases in the melody. This passage typically has some sparse chords. The passage is performed using the uwakri scale and in the kungujith rhythm.
• The recapitulation is voiced by the melody of the quiluc, the counterpoint of the ekadothri and the rhythm of the docnacat. The passage is twice the tempo of the last passage, and it is to be very loud. The quiluc stays in the eerie high register. The passage has long phrases in the melody. This passage features only melodic tones and intervals. The passage is performed using the uwakri scale and in the ehim rhythm.
• Scales are constructed from twelve notes spaced evenly throughout the octave. The tonic note is fixed only at the time of performance.
• The furithali pentatonic scale is thought of as two disjoint chords spanning a perfect fifth and a major third. These chords are named ohug and iquur.
• The ohug trichord is the 1st, the 5th and the 8th degrees of the semitone octave scale.
• The iquur trichord is the 9th, the 10th and the 13th (completing the octave) degrees of the semitone octave scale.
• The shudash hexatonic scale is thought of as two disjoint chords spanning a perfect fifth and a major third. These chords are named deh and ithut.
• The deh tetrachord is the 1st, the 2nd, the 3rd and the 8th degrees of the semitone octave scale.
• The ithut trichord is the 9th, the 11th and the 13th (completing the octave) degrees of the semitone octave scale.
• The uwakri pentatonic scale is thought of as two disjoint chords spanning a perfect fifth and a major third. These chords are named othdo and ibalarek.
• The othdo trichord is the 1st, the 2nd and the 8th degrees of the semitone octave scale.
• The ibalarek trichord is the 9th, the 12th and the 13th (completing the octave) degrees of the semitone octave scale.
• The iquin rhythm is made from two patterns: the udal (considered the primary) and the uthrogumat. The patterns are to be played over the same period of time, concluding together regardless of beat number.
• The udal rhythm is a single line with eight beats divided into two bars in a 4-4 pattern. The beat is stressed as follows:
• | x x x x | x - x x |
• where x is a beat, - is silent and | indicates a bar.
• The uthrogumat rhythm is a single line with two beats. The beats are named sorot (spoken so) and pumdom (pu). The beat is stressed as follows:
• | x - |
• where x is a beat, - is silent and | indicates a bar.
• The emsor rhythm is a single line with two beats. The beats are named naccak (spoken na) and vishages (vi). The beat is stressed as follows:
• | x - |
• where x is a beat, - is silent and | indicates a bar.
• The kungujith 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 - - - |
• where x is a beat, - is silent and | indicates a bar.
• The ehim rhythm is made from two patterns: the dos and the vuthrilsim.
• The dos rhythm is a single line with eight beats divided into two bars in a 4-4 pattern. The beats are named aheda (spoken ah), ofing (of), ujel (uj) and bushcirne (bu). The beat is stressed as follows:
• | x x x - | - x x - |
• where x is a beat, - is silent and | indicates a bar.
• The vuthrilsim rhythm is a single line with eight beats divided into four bars in a 2-2-2-2 pattern. The beats are named desle (spoken de) and pethrebinpu (pe). The beat is stressed as follows:
• | x - | - x | x - | - x |
• where x is a beat, - is silent and | indicates a bar.

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