The Fruitful Ginkgo-Seed

The Fruitful Ginkgo-seed 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 nonsensical words and sounds while the music is played on three eggir and three uplucmok. The musical voices join in melody and counterpoint, harmony and rhythm. The counterpoint melody has short phrases throughout the form. It is performed using the ibalarek scale and in the vope rhythm. Throughout, when possible, performers are to play arpeggios.

• The chanter always should be passionate.
• Each eggir always should evoke tears.
• Each uplucmok always should feel mysterious.
• The Fruitful Ginkgo-seed has a well-defined multi-passage structure: a verse and a chorus possibly all repeated, a bridge-passage and a chorus and a lengthy verse.
• The first verse is voiced by the melody of the uplucmok, the counterpoint of the chanter reciting nonsensical words and sounds and the harmony of the eggir. The passage accelerates as it proceeds, and it is to be soft. Each of the uplucmok stays in the muddy low register and the chanter's voice ranges from the low register to the middle register. The passage has short phrases in the melody. Only one pitch is ever played at a time in this passage. The passage should be performed using trills.
• The first chorus is voiced by the melody of the chanter reciting nonsensical words and sounds, the counterpoint of the eggir and the harmony of the uplucmok. The passage is half the tempo of the last passage, and it is to become softer and softer. The chanter's voice ranges from the low register to the middle register and each of the uplucmok covers its entire range from the muddy low register to the wispy high register. The passage has phrases of varied length in the melody. Only one pitch is ever played at a time in this passage. The passage should be performed using trills.
• The bridge-passage is voiced by the melody of the eggir. The passage resumes the original tempo, and it is to fade into silence. The passage has short phrases in the melody. This passage typically has some sparse chords.
• The second chorus is voiced by the melody of the chanter reciting any composition of The Moss-agate Peregrine-falcon-person, the melody of the eggir and the rhythm of the uplucmok. The passage is very slow, and it is to be very loud. The chanter's voice ranges from the middle register to the high register and each of the uplucmok covers its entire range from the muddy low register to the wispy high register. The passage has mid-length phrases in the melody. This passage typically has some sparse chords.
• The second verse is voiced by the melody of the uplucmok, the counterpoint of the chanter reciting nonsensical words and sounds and the harmony of the eggir. The passage is very slow, and it is to be very soft. Each of the uplucmok covers its entire range from the muddy low register to the wispy high register and the chanter's voice stays in the high register. The passage has phrases of varied length in the melody. This passage features only melodic tones and intervals.
• 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 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.
• The vope rhythm is made from two patterns: the xur and the iwarolera. 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 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.

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