The Musical Saguaro-Fruit

The Musical Saguaro-fruit is a form of music used for entertainment originating in The Charismatic Group. The form guides musicians during improvised performances. A chanter recites nonsensical words and sounds while the music is played on a imth. The music is melody and rhythm without harmony. The melody has short phrases throughout the form. It is performed using the ohug scale and in the ciki rhythm. Throughout, when possible, performers are to alternate tension and repose and play staccato.

• The chanter always does the main melody.
• The imth always provides the rhythm.
• The Musical Saguaro-fruit has a well-defined multi-passage structure: a first theme, a lengthy exposition of the first theme, a brief second theme, an exposition of the second theme and a synthesis of previous passages.
• The first theme should be melancholic and is at a walking pace, and it is to be very loud. The chanter's voice stays in the middle register. Only one pitch is ever played at a time in this passage.
• The first exposition should feel mournful and is slower than the last passage, and it is to be very loud. The chanter's voice covers its entire range. This passage features only melodic tones and intervals.
• The second theme should feel calm and slows and broadens, and it is to become softer and softer. The chanter's voice stays in the high register. Only one pitch is ever played at a time in this passage.
• The second exposition should be made with a light touch and is twice the tempo of the last passage, and it is to be soft. The chanter's voice stays in the high register. Only one pitch is ever played at a time in this passage.
• The synthesis should be made sweetly and resumes the original tempo, and it is to be soft. The chanter's voice covers its entire range. Only one pitch is ever played at a time in this passage. The passage should be performed using frequent modulation.
• Scales are constructed from twenty-two notes dividing the octave. In quartertones, their spacing is roughly 1xxxxxxx-xx-xxxxxxxxxxxxO, 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. Preferred notes in the fundamental scale are named. The names are othdo (spoken othd, 5th), ithut (ith, 7th), iquur (iq, 8th), ibalarek (ib, 9th), uwakri (uw, 12th), xathrato (xa, 16th), furithali (fu, 19th) and vuthrilsim (vu, 20th).
• The ohug heptatonic scale is constructed by selection of degrees from the fundamental scale. The degrees selected are the 1st, the 4th, the 7th, the 11th, the 13th, the 16th and the 17th.
• The ciki rhythm is made from two patterns: the ofing (considered the primary) and the bokem. The patterns are to be played over the same period of time, concluding together regardless of beat number.
• The ofing rhythm is a single line with twenty-three beats divided into four bars in a 5-7-7-4 pattern. The beat is stressed as follows:
• | x - x - x | - x - x x - - | - x - x x - x | x x - - |
• where x is a beat, - is silent and | indicates a bar.
• The bokem rhythm is a single line with thirty-two beats divided into six bars in a 3-6-6-7-4-6 pattern. The beat is stressed as follows:
• | x - x | 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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