The Sand-Pear of Cores

The Sand-pear of Cores is a devotional form of music originating in The Cobaltite of Redoubles. 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 most, a stil and three bus. The musical voices cover melody, harmony and rhythm. The entire performance should feel mournful. The melody has short phrases throughout the form. It is performed using the muzlom scale and in free rhythm. Throughout, when possible, composers and performers are to alternate tension and repose.

• The most always does harmony.
• The stil always provides the rhythm. The voice uses its entire range from the wispy low register to the slicing high register.
• Each bus always does the main melody.
• The Sand-pear of Cores has a well-defined multi-passage structure: a brief verse and a chorus all repeated two times, a bridge-passage and a chorus and a verse.
• The first verse is slow, and it is to be soft. The most covers its entire range from the rich low register to the wavering top register and the stil covers its entire range from the wispy low register to the slicing high register. This passage typically has some sparse chords.
• The first chorus is consistently slowing, and it is to become softer and softer. The most ranges from the rich low register to the dark middle register and the stil covers its entire range from the wispy low register to the slicing high register. Only one pitch is ever played at a time in this passage. The passage should be composed and performed using grace notes.
• The bridge-passage becomes calmer as the end is approached. The most ranges from the low register to the high register and the stil covers its entire range from the wispy low register to the slicing high register. Chords are packed close together in dense clusters in this passage. The passage should be composed and performed using grace notes and syncopation.
• The second chorus moves more quickly than the last passage, and it is to be moderately soft. The most covers its entire range from the rich low register to the wavering top register and the stil covers its entire range from the wispy low register to the slicing high register. Only one pitch is ever played at a time in this passage.
• The second verse is moderately fast, and it is to become louder and louder. The most ranges from the low register to the high register and the stil covers its entire range from the wispy low register to the slicing high register. Chords are packed close together in dense clusters in this passage. The passage should be composed and performed using grace notes and syncopation.
• Scales are constructed from twenty-four notes spaced evenly throughout the octave. The tonic note is a fixed tone passed from teacher to student. After a scale is constructed, the root note of chords are named. The names are kistek (spoken ki) and lesul (le).
• The muzlom pentatonic scale is constructed by selection of degrees from the fundamental scale. The degrees selected are the 1st, the 6th, the 10th, the 15th and the 22nd.

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