The Mango of Song

The Mango of Song is a form of music used during marches and military engagements originating in The Reprobate of Blustering. The form guides musicians during improvised performances. A chanter recites any composition of The Cognitive Cashew while the music is played on a uxagordalkom. The musical voices join in melody and counterpoint, harmony and rhythm. The entire performance should feel mournful, and it is to become softer and softer. The melody and counterpoint both have short phrases throughout the form. Never more than an interval sounds at once. Throughout, when possible, performers are to use grace notes and play rapid runs.

• The chanter always glides from note to note.
• The uxagordalkom always plays legato.
• The Mango of Song has a well-defined multi-passage structure: a theme, an exposition of the theme, a brief bridge-passage and a lengthy recapitulation of the theme.
• The theme is voiced by the melody of the chanter and the rhythm of the uxagordalkom. The passage slows and broadens. The chanter's voice ranges from the middle register to the high register and the uxagordalkom stays in the fragile high register. The passage is performed using the zuxaz scale and in the doram rhythm.
• The exposition is voiced by the melody of the uxagordalkom and the counterpoint of the chanter. The passage is at a free tempo. The uxagordalkom stays in the raspy low register and the chanter's voice ranges from the low register to the middle register. The passage is performed using the daxst scale and in free rhythm. The passage should be performed using mordents.
• The bridge-passage is voiced by the melody of the uxagordalkom and the harmony of the chanter. The passage is twice the tempo of the last passage. The uxagordalkom covers its entire range from the raspy low register to the fragile high register and the chanter's voice ranges from the middle register to the high register. The passage is performed using the uturo scale and in the barulo rhythm. The passage should be performed using mordents.
• The recapitulation is voiced by the melody of the chanter and the counterpoint of the uxagordalkom. The passage is extremely fast. The chanter's voice covers its entire range and the uxagordalkom covers its entire range from the raspy low register to the fragile high register. The passage is performed using the ragu scale and in the kulu rhythm.
• Scales are constructed from twenty-two notes dividing the octave. In quartertones, their spacing is roughly 1xxxx-xxxx-xxxxxxxxxxxxxO, where 1 is the tonic, O marks the octave and x marks other notes. The tonic note is fixed only at the time of performance.
• The zuxaz hexatonic scale is constructed by selection of degrees from the fundamental scale. The degrees selected are the 1st, the 6th, the 8th, the 11th, the 17th and the 20th.
• The daxst hexatonic scale is constructed by selection of degrees from the fundamental scale. The degrees selected are the 1st, the 4th, the 9th, the 14th, the 19th and the 22nd.
• The uturo heptatonic scale is constructed by selection of degrees from the fundamental scale. The degrees selected are the 1st, the 4th, the 7th, the 10th, the 15th, the 16th and the 20th.
• The ragu pentatonic scale is constructed by selection of degrees from the fundamental scale. The degrees selected are the 1st, the 5th, the 13th, the 17th and the 22nd.
• The doram rhythm is made from two patterns: the assna and the orustrur. The patterns are to be played over the same period of time, concluding together regardless of beat number.
• The assna rhythm is a single line with nine beats divided into three bars in a 3-3-3 pattern. The beats are named xuzestra (spoken xu), roxstat (ro) and tekug (te). The beat is stressed as follows:
• | x x - | x x x | - x - |
• where x is a beat, - is silent and | indicates a bar.
• The orustrur rhythm is a single line with eight beats divided into four bars in a 2-2-2-2 pattern. The beat is stressed as follows:
• | - x | x - | x - | x x |
• where x is a beat, - is silent and | indicates a bar.
• The barulo rhythm is a single line with three beats. The beats are named odo (spoken od), sangob (sa) and obungasnu (ob). The beat is stressed as follows:
• | x - - |
• where x is a beat, - is silent and | indicates a bar.
• The kulu rhythm is made from two patterns: the strob (considered the primary) and the snas. The patterns are to be played over the same period of time, concluding together regardless of beat number.
• The strob rhythm is a single line with eight beats. The beat is stressed as follows:
• | x - - x - - - x |
• where x is a beat, - is silent and | indicates a bar.
• The snas rhythm is a single line with twenty-eight beats divided into four bars in a 6-9-6-7 pattern. The beat is stressed as follows:
• | - x - - - - | x - - x x x x - - | - x x x - x | x - x x x - x |
• where x is a beat, - is silent and | indicates a bar.

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