The Offbeat Cherries

The Offbeat Cherries is a form of music used during marches and military engagements 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. A singer recites any composition of The Chestnut of Fruits while the music is played on a warosp. The musical voices are joined in melody. The entire performance should be melancholic. The melody has mid-length phrases throughout the form. It is performed in the imesathi rhythm. Throughout, when possible, composers and performers are to alternate tension and repose and spread syllables over many notes.

• The singer always does the main melody.
• The warosp always does the main melody.
• The Offbeat Cherries has a well-defined multi-passage structure: an introduction, a passage and another one to two passages, a bridge-passage and a lengthy finale.
• The introduction is consistently slowing, and it is to be very soft. The singer's voice stays in the low register and the warosp ranges from the dark high register to the floating top register. This passage features only melodic tones and intervals. The passage is performed using the vuthrilsim scale.
• The first simple passage is extremely fast, and it is to be moderately loud. The singer's voice stays in the middle register and 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 using the desle scale.
• Each of the second simple passages slows and broadens, and it is to be loud. The singer's voice stays in the middle register and the warosp ranges from the dark high register to the floating top register. Chords are packed close together in dense clusters in this passage. Each passage is performed using the xathrato scale.
• The bridge-passage is slow, and it is to be moderately loud. The singer's voice covers its entire range and the warosp is confined to the watery low register. Chords are packed close together in dense clusters in this passage. The passage is performed using the desle scale.
• The finale slows down and dies away as it draws to a close. The singer's voice stays in the low register and the warosp is confined to the ringing middle register. This passage typically has some sparse chords. The passage is performed using the uwakri scale.
• Scales are constructed from twelve notes spaced evenly throughout the octave. The tonic note is fixed only at the time of performance.
• The vuthrilsim heptatonic scale is thought of as two disjoint chords spanning two perfect fourths. These chords are named equanamsespe and ithut.
• The equanamsespe tetrachord is the 1st, the 2nd, the 3rd and the 6th degrees of the semitone octave scale.
• The ithut tetrachord is the 8th, the 9th, the 11th and the 13th (completing the octave) degrees of the semitone octave scale.
• The desle heptatonic scale is thought of as two disjoint chords spanning two perfect fourths. These chords are named equanamsespe and ibalarek.
• The ibalarek tetrachord is the 8th, the 11th, the 12th and the 13th (completing the octave) degrees of the semitone octave scale.
• 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 uwakri pentatonic scale is thought of as two disjoint chords spanning two perfect fourths. These chords are named ohural and othdo.
• The ohural trichord is the 1st, the 2nd and the 6th degrees of the semitone octave scale.
• 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.

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