The Ripe Fruits

The Ripe Fruits is a form of music used for entertainment originating in The Empires of Endeavoring. The form guides musicians during improvised performances. The music is played on a mogu and a docadula. The music is melody and rhythm without harmony. The entire performance is to start loud then be immediately soft. The melody has long phrases throughout the form. It is performed in free rhythm. Throughout, when possible, performers are to glide from note to note and play rapid runs.

• The docadula always does the main melody.
• The Ripe Fruits has a well-defined multi-passage structure: a lengthy introduction, a theme and a series of variations on the theme and a finale.
• The introduction is voiced by the melody of the docadula and the rhythm of the mogu. The passage should evoke tears and is very slow. The docadula covers its entire range from the rippling low register to the muddy high register. This passage features only melodic tones and intervals. The passage is performed using the furithali scale.
• The theme is voiced by the melody of the docadula and the rhythm of the mogu. The passage should feel mysterious and is at a free tempo. The docadula covers its entire range from the rippling low register to the muddy high register. This passage features only melodic tones and intervals. The passage is performed using the pethrebinpu scale.
• The series of variations is voiced by the melody of the docadula. The passage should be passionate and is at a walking pace. The docadula ranges from the wispy middle register to the muddy high register. Only one pitch is ever played at a time in this passage. The passage is performed using the ibalarek scale.
• The finale is voiced by the melody of the docadula. The passage should be vigorous and is fast. The docadula covers its entire range from the rippling low register to the muddy high register. Only one pitch is ever played at a time in this passage. The passage is performed using the uwakri scale.
• 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 furithali hexatonic scale is thought of as two disjoint chords drawn from the fundamental division of the perfect fourth. These chords are named mushast and othdo.
• The mushast tetrachord is the 1st, the 3rd, the 4th and the 8th degrees of the fundamental perfect fourth division.
• The othdo trichord is the 1st, the 3rd and the 8th degrees of the fundamental perfect fourth division.
• As always, the pethrebinpu hexatonic scale is thought of as two disjoint chords drawn from the fundamental division of the perfect fourth. These chords are named mushast and oruslumcopo.
• The oruslumcopo trichord is the 1st, the 2nd and the 8th degrees of the fundamental perfect fourth division.
• As always, the ibalarek hexatonic scale is thought of as two disjoint chords drawn from the fundamental division of the perfect fourth. These chords are named deh and ohug.
• The deh trichord is the 1st, the 7th 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.
• As always, the uwakri heptatonic scale is thought of as two disjoint chords drawn from the fundamental division of the perfect fourth. These chords are named oxuskor and equanamsespe.
• The oxuskor tetrachord is the 1st, the 2nd, the 7th and the 8th degrees of the fundamental perfect fourth division.
• The equanamsespe tetrachord is the 1st, the 3rd, the 4th and the 8th degrees of the fundamental perfect fourth division.

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