The Wholegrain Acorns

The Wholegrain Acorns is a form of music used during marches and military engagements 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. Two chanters recite nonsensical words and sounds while the music is played on a osirimi. The musical voices join in melody, counterpoint and harmony. The entire performance should be delicate. The melody has long phrases, while the counterpoint has mid-length phrases throughout the form. It is performed using the ipila scale. Throughout, when possible, composers and performers are to play rapid runs and alternate tension and repose.

• The Wholegrain Acorns has a well-defined multi-passage structure: a lengthy introduction, a first theme, an exposition of the first theme, a second theme, a lengthy exposition of the second theme and a synthesis of previous passages.
• The introduction is voiced by the melody of the chanters reciting any composition of The Experimental Citron and the harmony of the osirimi. The passage accelerates as it proceeds, and it is to fade into silence. Each of the chanters' voices stays in the low register and the osirimi stays in the raucous low register. This passage features only melodic tones and intervals. The passage is performed in free rhythm. The passage should be composed and performed using melismatic phrasing.
• The first theme is voiced by the melody of the chanters reciting any composition of The Experimental Citron and the counterpoint of the osirimi. The passage is very slow, and it is to fade into silence. Each of the chanters' voices ranges from the middle register to the high register and the osirimi stays in the strident high register. Only one pitch is ever played at a time in this passage. The passage is performed in free rhythm.
• The first exposition is voiced by the melody of the osirimi and the harmony of the chanters reciting nonsensical words and sounds. The passage is at a walking pace, and it is to become softer and softer. The osirimi covers its entire range from the raucous low register to the strident high register and each of the chanters' voices stays in the low register. This passage features only melodic tones and intervals. The passage is performed in the yalona rhythm.
• The second theme is voiced by the melody of the osirimi and the counterpoint of the chanters reciting The Moose of Peanut-plants. The passage is slower than the last passage, and it is to be very soft. The osirimi covers its entire range from the raucous low register to the strident high register and each of the chanters' voices ranges from the low register to the middle register. Only one pitch is ever played at a time in this passage. The passage is performed in the sori rhythm.
• The second exposition is voiced by the melody of the chanters reciting nonsensical words and sounds. The passage is at a free tempo, and it is to be moderately loud. Each of the chanters' voices stays in the high register. Only one pitch is ever played at a time in this passage. The passage is performed in the afene rhythm.
• The synthesis is voiced by the melody of the osirimi and the harmony of the chanters reciting any composition of The Verdant Ceders. The passage is moderately paced, and it is to be moderately soft. The osirimi covers its entire range from the raucous low register to the strident high register and each of the chanters' voices stays in the middle register. Only one pitch is ever played at a time in this passage. The passage is performed in the slutha rhythm.
• 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 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 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.
• The sori rhythm is made from two patterns: the yalona and the fefa. The patterns are to be played in the same beat, allowing one to repeat before the other is concluded.
• The fefa rhythm is a single line with eight beats divided into two bars in a 4-4 pattern. The beats are named oquino (spoken oq), kecace (ke), the (the) and teze (te). The beat is stressed as follows:
• | - x - x | - - x x |
• where x is a beat, - is silent and | indicates a bar.
• The afene rhythm is made from two patterns: the cucecuse (considered the primary) and the omarime. The patterns are to be played over the same period of time, concluding together regardless of beat number.
• The cucecuse rhythm is a single line with thirty-two beats divided into eight bars in a 4-4-4-4-4-4-4-4 pattern. The beats are named cowe (spoken co), fi (fi), acimedewe (ac) and tafalofi (ta). The beat is stressed as follows:
• | - - - x | 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, x is a beat, - is silent and | indicates a bar.
• 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 slutha rhythm is a single line with nineteen beats divided into three bars in a 10-3-6 pattern. The beat is stressed as follows:
• | x - x x - - x X - x | x - - | - - - - x - |
• where X marks an accented beat, x is a beat, - is silent and | indicates a bar.

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