The Fruitless Walnut

The Fruitless Walnut is a form of music used to commemorate important events originating in The Empires of Endeavoring. The form guides musicians during improvised performances. A chanter recites any composition of The Implacable Denouncement. The entire performance should be delicate. The melody has long phrases throughout the form. Only one pitch is ever played at a time. It is performed using the ithut scale. Throughout, when possible, performers are to make trills, play legato and spread syllables over many notes.

• The chanter always does the main melody.
• The Fruitless Walnut has a well-defined multi-passage structure: a verse and a chorus all repeated one to two times, a lengthy bridge-passage, a verse and a lengthy chorus, a bridge-passage, a finale and a coda.
• The first verse is at a walking pace, and it is to be very loud. The chanter's voice ranges from the middle register to the high register. The passage is performed in the inal rhythm.
• The first chorus gradually slows as it comes to an end, and it is to become louder and louder. The chanter's voice covers its entire range. The passage is performed in the bokem rhythm.
• The first bridge-passage moves more quickly than the last passage, and it is to be very loud. The chanter's voice stays in the low register. The passage is performed in the warosp rhythm.
• The second verse is slow, and it is to be very soft. The chanter's voice ranges from the middle register to the high register. The passage is performed in free rhythm.
• The second chorus is very fast, and it is to be soft. The chanter's voice ranges from the low register to the middle register. The passage is performed in the oquil rhythm.
• The second bridge-passage is at a walking pace, and it is to be very loud. The chanter's voice stays in the low register. The passage is performed in free rhythm. The passage should be performed using arpeggios.
• The finale is very fast, and it is to become softer and softer. The chanter's voice stays in the low register. The passage is performed in the ocgothrom rhythm.
• The coda is very fast, and it is to be in whispered undertones. The chanter's voice covers its entire range. The passage is performed in the ibbekur rhythm. The passage should be performed using arpeggios.
• Scales are conceived of as two chords built using a division of the perfect fourth interval into eight notes. The tonic note is fixed only at the time of performance. Every note is named. The names are uthrogumat (spoken uthr), sorot (so), pumdom (pu), dos (do), aheda (ah), ofing (of), ujel (uj) and bushcirne (bu).
• As always, the ithut hexatonic scale is thought of as two disjoint chords drawn from the fundamental division of the perfect fourth. These chords are named ohural and ohug.
• The ohural trichord is the 1st, the 2nd and the 8th degrees of the fundamental perfect fourth division.
• The ohug tetrachord is the 1st, the 4th, the 5th and the 8th degrees of the fundamental perfect fourth division.
• The inal rhythm is made from two patterns: the iwarolera and the ibbekur. The patterns are to be played in the same beat, allowing one to repeat before the other is concluded.
• The iwarolera rhythm is a single line with sixteen beats divided into four bars in a 4-4-4-4 pattern. The beat is stressed as follows:
• | - x - x | x X x - | - x'- - | x`- - - |
• where X marks an accented beat, ` marks a beat as early, ' marks a beat as late, x is a beat, - is silent and | indicates a bar.
• The ibbekur rhythm is a single line with four beats. The beat is stressed as follows:
• | x`- - - |
• where ` marks a beat as early, x is a beat, - is silent and | indicates a bar.
• The bokem rhythm is made from two patterns: the ibbekur and the xur. The patterns are to be played in the same beat, allowing one to repeat before the other is concluded.
• The xur rhythm is a single line with seventeen beats divided into two bars in a 7-10 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 late, x is a beat, - is silent and | indicates a bar.
• The warosp rhythm is made from two patterns: the ocgothrom (considered the primary) and the ibbekur.
• The ocgothrom rhythm is a single line with four beats. The beats are named ingdaspod (spoken ing), gad (ga), anar (an) and imesathi (im). The beat is stressed as follows:
• | - - x x |
• where x is a beat, - is silent and | indicates a bar.
• The oquil rhythm is made from two patterns: the emsor (considered the primary) and the ibbekur. The patterns are to be played over the same period of time, concluding together regardless of beat number.
• The emsor rhythm is a single line with sixteen beats divided into four bars in a 4-4-4-4 pattern. The beats are named naccak (spoken na), vishages (vi), kungujith (ku) and udal (ud). The beat is stressed as follows:
• | - x X'x | x x X - | x x x`X | - - - x |
• where X marks an accented beat, ` marks a beat as early, ' marks a beat as late, x is a beat, - is silent and | indicates a bar.

Events