The Pistillate Lemon

The Pistillate Lemon is a form of music used for entertainment originating in The Child of Billon. The form guides musicians during improvised performances. A chanter recites nonsensical words and sounds while the music is played on one to two dedep. The music is melody and rhythm without harmony. The entire performance is extremely fast, and it is to be moderately loud. The melody has short phrases throughout the form. It is performed using the kotoq scale and in the op rhythm. Throughout, when possible, performers are to use grace notes and alternate tension and repose.

• The chanter always does the main melody and should be forceful.
• Each dedep always should be jumpy.
• The Pistillate Lemon has a well-defined multi-passage structure: an introduction, a first theme, an exposition of the first theme, a second theme, a lengthy exposition of the second theme, a synthesis of previous passages, a finale and a coda.
• The introduction is voiced by the melody of the chanter reciting nonsensical words and sounds and the rhythm of the dedep. The chanter's voice covers its entire range. This passage features only melodic tones and intervals.
• The first theme is voiced by the melody of the chanter reciting nonsensical words and sounds. The chanter's voice ranges from the middle register to the high register. Only one pitch is ever played at a time in this passage. The passage should be performed using glides.
• The first exposition is voiced by the melody of the chanter reciting any composition of The Comet of Outshining. The chanter's voice stays in the low register. Only one pitch is ever played at a time in this passage. The passage should be performed using glides and legato.
• The second theme is voiced by the melody of the chanter reciting nonsensical words and sounds. The chanter's voice covers its entire range. Only one pitch is ever played at a time in this passage. The passage should be performed using glides.
• The second exposition is voiced by the melody of the chanter reciting nonsensical words and sounds and the rhythm of the dedep. The chanter's voice ranges from the low register to the middle register. This passage features only melodic tones and intervals.
• The synthesis is voiced by the melody of the chanter reciting nonsensical words and sounds and the rhythm of the dedep. The chanter's voice covers its entire range. This passage features only melodic tones and intervals. The passage should be performed using legato.
• The finale is voiced by the melody of the chanter reciting any composition of The Comet of Outshining and the rhythm of the dedep. The chanter's voice ranges from the middle register to the high register. Only one pitch is ever played at a time in this passage.
• The coda is voiced by the melody of the chanter reciting any composition of The Archeological Hypothesis and the rhythm of the dedep. The chanter's voice covers its entire range. This passage features only melodic tones and intervals. The passage should be performed using legato.
• 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. After a scale is constructed, notes are named according to degree. The names are qahpa (spoken qa), oqua (oq), ej (ej), at (at), iadok (iad), poqin (po) and oti (ot).
• As always, the kotoq hexatonic scale is thought of as two disjoint chords drawn from the fundamental division of the perfect fourth. These chords are named axod and toki.
• The axod tetrachord is the 1st, the 2nd, the 5th and the 8th degrees of the fundamental perfect fourth division.
• The toki trichord is the 1st, the 2nd and the 8th degrees of the fundamental perfect fourth division.
• The op rhythm is a single line with thirty-two beats divided into four bars in a 8-8-8-8 pattern. The beats are named fiepo (spoken fie), ezok (ez), qapoaq (qa), akoaz (ak), kidoi (ki), jed (je), dokot (do) and otep (ot). The beat is stressed as follows:
• | x x x X x - x - | - - ! - x - - x | x X`- - - - x'- | - - x X'- x x - |
• where ! marks the primary accent, 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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