The Fruity Paradise-Nut

The Fruity Paradise-nut is a form of music used to commemorate important events originating in The Grandparent of Tufts. The rules of the form are applied by composers to produce individual pieces of music which can be performed. The music is played on a warosp. The entire performance is to be soft. The melody has mid-length phrases throughout the form. It is performed using the xathrato scale. Throughout, when possible, composers and performers are to use mordents, play rapid runs and play legato.

• The warosp always does the main melody and should perform with a light touch.
• The Fruity Paradise-nut has a well-defined multi-passage structure: a lengthy first theme, an exposition of the first theme, a second theme, an exposition of the second theme and a synthesis of previous passages.
• The first theme is at a walking pace. The warosp is confined to the floating top register. This passage features only melodic tones and intervals. The passage is performed in the bokem rhythm.
• The first exposition gradually slows as it comes to an end. The warosp ranges from the watery low register to the ringing middle register. This passage features only melodic tones and intervals. The passage is performed in free rhythm.
• The second theme accelerates as it proceeds. The warosp is confined to the watery low register. This passage typically has some sparse chords. The passage is performed in free rhythm.
• The second exposition is moderately paced. The warosp ranges from the watery low register to the dark high register. Only one pitch is ever played at a time in this passage. The passage is performed in the warosp rhythm.
• The synthesis is at a hurried pace. The warosp ranges from the watery low register to the dark high register. This passage features only melodic tones and intervals. The passage is performed in the uthrogumat rhythm.
• Scales are constructed from twelve notes spaced evenly throughout the octave. The tonic note is fixed only at the time of performance.
• The xathrato hexatonic scale is thought of as two disjoint chords spanning two perfect fourths. These chords are named oxuskor and othdo.
• The oxuskor tetrachord is the 1st, the 3rd, the 5th and the 6th degrees of the semitone octave scale.
• The othdo trichord is the 8th, the 11th and the 13th (completing the octave) degrees of the semitone octave scale.
• The bokem rhythm is made from three patterns: the sorot (considered the primary), the vishages and the pethrebinpu. The patterns are to be played over the same period of time, concluding together regardless of beat number.
• The sorot rhythm is a single line with twenty-four beats divided into three bars in a 8-8-8 pattern. The beats are named pumdom (spoken pu), dos (do), aheda (ah), ofing (of), ujel (uj), bushcirne (bu), emsor (ems) and naccak (na). The beat is stressed as follows:
• | x - x'- x x - x | - x - x - x x - | - x - x x x x - |
• where ' marks a beat as late, x is a beat, - is silent and | indicates a bar.
• The vishages rhythm is a single line with thirty-two beats divided into four bars in a 8-8-8-8 pattern. The beats are named kungujith (spoken ku), udal (ud), xur (xu), ibbekur (ib), ocgothrom (oc), ingdaspod (ing), gad (ga) and anar (an). The beat is stressed as follows:
• | x x x x - x x x`| - - x - - - - - | x x'- - x'- x x | x x x x x - - - |
• where ` marks a beat as early, ' marks a beat as late, x is a beat, - is silent and | indicates a bar.
• The pethrebinpu rhythm is a single line with four beats. The beat is stressed as follows:
• | - x x - |
• where x is a beat, - is silent and | indicates a bar.
• The warosp rhythm is made from two patterns: the sorot and the imesathi. The patterns are to be played in the same beat, allowing one to repeat before the other is concluded.
• The imesathi rhythm is a single line with twenty-eight beats divided into four bars in a 6-6-8-8 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.
• The uthrogumat rhythm is a single line with four beats divided into two bars in a 2-2 pattern. The beat is stressed as follows:
• | - x | x x |
• where x is a beat, - is silent and | indicates a bar.

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