The Orchard of Blossoming

The Orchard of Blossoming is a form of music used for entertainment originating in The Grandparent of Tufts. The form guides musicians during improvised performances. A speaker recites any composition of The Yellow-Jasper Cherry-Trees while the music is played on a juwu, a ipod and three warosp. The musical voices bring melody, counterpoint and rhythm. The entire performance is to become softer and softer. The melody and counterpoint both have mid-length phrases throughout the form. The music repeats for as long as necessary. It is performed in free rhythm. Throughout, when possible, performers are to alternate tension and repose and play legato.

• The speaker always should feel mournful.
• The juwu always provides the rhythm and should perform expressively.
• The ipod always should bring a sense of motion.
• Each warosp always should be fiery.
• The Orchard of Blossoming has a well-defined multi-passage structure: an introduction, a passage and a finale.
• The introduction is voiced by the melody of the ipod, the counterpoint of the warosp, the rhythm of the juwu and the speaker. The passage is moderately paced. The ipod stays in the sparkling low register and each of the warosp covers its entire range from the watery low register to the floating top register. This passage typically has some sparse chords. The passage is performed without preference for a scale.
• The simple passage is voiced by the melody of the warosp, the rhythm of the juwu and the speaker. The passage is slow. Each of the warosp ranges from the dark high register to the floating top register. This passage is richly layered with full chords making use of the available range. The passage is performed using the shudash scale.
• The finale is voiced by the melody of the warosp, the rhythm of the juwu, the rhythm of the ipod and the speaker. The passage is extremely fast. Each of the warosp ranges from the ringing middle register to the floating top register and the ipod covers its entire range from the sparkling low register to the wispy high register. Only one pitch is ever played at a time in this passage. The passage is performed using the furithali scale. The passage should be performed using staccato.
• Scales are constructed from twelve notes spaced evenly throughout the octave. The tonic note is fixed only at the time of performance.
• The shudash hexatonic scale is thought of as two disjoint chords spanning two perfect fourths. These chords are named deh and oruslumcopo.
• The deh tetrachord is the 1st, the 2nd, the 4th and the 6th degrees of the semitone octave scale.
• The oruslumcopo trichord is the 8th, the 9th and the 13th (completing the octave) degrees of the semitone octave scale.
• The furithali hexatonic scale is thought of as two disjoint chords spanning two perfect fourths. These chords are named mushast and oruslumcopo.
• The mushast tetrachord is the 1st, the 3rd, the 4th and the 6th degrees of the semitone octave scale.

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