The Instrumental Seeds

The Instrumental Seeds is a form of music used during marches and military engagements 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 bithistorsal and a nashis. The music is melody and rhythm without harmony. The entire performance is to be loud. It is performed using the ozisash scale. Throughout, when possible, composers and performers are to syncopate and alternate tension and repose.

• The bithistorsal always does the main melody, should be triumphant and plays legato.
• The nashis always provides the rhythm and should perform with feeling.
• The Instrumental Seeds has a well-defined multi-passage structure: an introduction and a theme and one to two series of variations on the theme.
• The introduction is very fast. The bithistorsal covers its entire range from the wispy low register to the floating high register. The passage has short phrases in the melody. This passage is richly layered with full chords making use of the available range. The passage is performed in free rhythm.
• The theme is consistently slowing. The bithistorsal ranges from the wispy low register to the rich middle register. The passage has phrases of varied length in the melody. Chords are packed close together in dense clusters in this passage. The passage is performed in the rilgush rhythm.
• Each of the series of variations gradually slows as it comes to an end. The bithistorsal ranges from the rich middle register to the floating high register. Each passage has long phrases in the melody. This passage features only melodic tones and intervals. Each passage is performed in the fekut rhythm.
• 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 ozisash pentatonic scale is thought of as joined chords spanning a perfect fifth and a perfect fourth. These chords are named vallal and toker.
• The vallal tetrachord is the 1st, the 5th, the 10th and the 15th degrees of the quartertone octave scale.
• The toker trichord is the 15th, the 19th and the 25th (completing the octave) degrees of the quartertone octave scale.
• The rilgush rhythm is a single line with thirty-two beats divided into six bars in a 3-6-5-7-6-5 pattern. The beat is stressed as follows:
• | 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 fekut rhythm is made from two patterns: the sak and the sushet. The patterns are to be played over the same period of time, concluding together regardless of beat number.
• The sak rhythm is a single line with eighteen beats divided into three bars in a 4-8-6 pattern. The beat is stressed as follows:
• | x x x x | - - - x x x`- - | x - - x x - |
• where ` marks a beat as early, x is a beat, - is silent and | indicates a bar.
• The sushet rhythm is a single line with four beats. The beats are named egek (spoken eg), goruk (go), adokegudim (ad) and aros (ar). The beat is stressed as follows:
• | x x x - |
• where x is a beat, - is silent and | indicates a bar.

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