The Tulip of Peduncles

The Tulip of Peduncles is a form of music used for entertainment originating in The Unheeded Courageous Plump-Helmet-Fungi. The rules of the form are applied by composers to produce individual pieces of music which can be performed. A speaker recites nonsensical words and sounds while the music is played on one to two osirimi, three ufiso and a meli. The music is melody and rhythm without harmony. The melody has long phrases throughout the form. It is performed in the wori rhythm. Throughout, when possible, composers and performers are to glide from note to note.

• The speaker always should be fiery.
• Each osirimi always provides the rhythm and should be melancholic.
• Each ufiso always does the main melody and should be spirited.
• The meli always does the main melody, should be passionate and modulates frequently.
• The Tulip of Peduncles has a well-defined multi-passage structure: an introduction, a chorus and a verse all repeated two times, a bridge-passage and a verse and a chorus.
• The introduction is at a walking pace, and it is to be very soft. Each of the osirimi stays in the strident high register. This passage typically has some sparse chords. The passage is performed using the iwarivuli scale.
• The first chorus is very fast, and it is to be very loud. Each of the osirimi covers its entire range from the raucous low register to the strident high register. Only one pitch is ever played at a time in this passage. The passage is performed using the ucame scale.
• The first verse is extremely fast, and it is to be very loud. Each of the osirimi stays in the strident high register. This passage is richly layered with full chords making use of the available range. The passage is performed using the izela scale.
• The bridge-passage is consistently slowing, and it is to be moderately soft. Each of the osirimi stays in the raucous low register. This passage typically has some sparse chords. The passage is performed without preference for a scale.
• The second verse is moderately fast, and it is to be moderately loud. Each of the osirimi stays in the strident high register. This passage is richly layered with full chords making use of the available range. The passage is performed using the ipila scale.
• The second chorus is extremely fast, and it is to fade into silence. Each of the osirimi covers its entire range from the raucous low register to the strident high register. This passage is richly layered with full chords making use of the available range. The passage is performed using the ucame scale.
• Scales are constructed from seventeen notes dividing the octave. In quartertones, their spacing is roughly 1-x-xxx-x-xx-xxxxxx-x-xxO, where 1 is the tonic, O marks the octave and x marks other notes. The tonic note is a fixed tone passed from teacher to student. Every note is named. The names are ifiyo (spoken if), izeli (iz), bone (bo), umamalu (um), emayethi (em), ithi (ith), seyawi (se), mila (mi), ezococa (ez), ebecari (eb), viceva (vi), moro (mo), wonethu (wo), ocaquica (oc), slothepanine (slo), feri (fe) and uwame (uw).
• The iwarivuli heptatonic scale is constructed by selection of degrees from the fundamental scale. The degrees selected are the 1st, the 3rd, the 4th, the 8th, the 9th, the 12th and the 13th.
• The ucame hexatonic scale is constructed by selection of degrees from the fundamental scale. The degrees selected are the 1st, the 3rd, the 5th, the 10th, the 12th and the 15th.
• The izela pentatonic scale is constructed by selection of degrees from the fundamental scale. The degrees selected are the 1st, the 5th, the 10th, the 13th and the 15th.
• The ipila hexatonic scale is constructed by selection of degrees from the fundamental scale. The degrees selected are the 1st, the 3rd, the 8th, the 9th, the 12th and the 16th.
• The wori rhythm is made from two patterns: the omarime (considered the primary) and the yalona. The patterns are to be played over the same period of time, concluding together regardless of beat number.
• The omarime rhythm is a single line with twenty-four beats divided into three bars in a 8-7-9 pattern. The beat is stressed as follows:
• | - x - - x - ! - | - - x - - - - | - - x - X - - x - |
• where ! marks the primary accent, X marks an accented beat, x is a beat, - is silent and | indicates a bar.
• The yalona rhythm is a single line with twenty-one beats divided into three bars in a 6-6-9 pattern. The beat is stressed as follows:
• | ! - x x x x | - - x x - - | - X x - x - - x - |
• where ! marks the primary accent, X marks an accented beat, x is a beat, - is silent and | indicates a bar.

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