The Blooming Pear

The Blooming Pear is a form of music used for entertainment 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. A singer recites any composition of The Macadamia-Nut of Teachers while the music is played on a oluthar. The musical voices bring melody and counterpoint. The entire performance should be delicate. The melody has mid-length phrases, while the counterpoint has short phrases throughout the form. It is performed using the ozol scale. Throughout, when possible, composers and performers are to make trills, play legato and match notes and syllables.

• The singer always is to be moderately soft and plays rapid runs.
• The oluthar always is to be moderately loud.
• The Blooming Pear has a well-defined multi-passage structure: an introduction and a theme and a series of variations on the theme possibly all repeated.
• The introduction is voiced by the melody of the oluthar and the counterpoint of the singer. The passage slows and broadens. The singer's voice covers its entire range. Chords are packed close together in dense clusters in this passage. The passage is performed in the tigir rhythm.
• The theme is voiced by the melody of the singer. The passage is consistently slowing. The singer's voice ranges from the low register to the middle register. Only one pitch is ever played at a time in this passage. The passage is performed in free rhythm.
• The series of variations is voiced by the melody of the singer. The passage is fast. The singer's voice ranges from the middle register to the high register. Only one pitch is ever played at a time in this passage. The passage is performed in the bash 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 ozol scale is thought of as joined chords spanning a perfect fifth and a perfect fourth. These chords are named vazast and imkekir.
• The vazast trichord is the 1st, the 8th and the 15th degrees of the quartertone octave scale.
• The imkekir trichord is the 15th, the 23rd and the 25th (completing the octave) degrees of the quartertone octave scale.
• The tigir rhythm is a single line with four beats. The beats are named erith (spoken er), binmonor (bi), gubolil (gu) and tethan (te). The beat is stressed as follows:
• | - x x - |
• where x is a beat, - is silent and | indicates a bar.
• The bash rhythm is made from two patterns: the nebulursed (considered the primary) and the rilgush. The patterns are to be played over the same period of time, concluding together regardless of beat number.
• The nebulursed rhythm is a single line with eight beats divided into four bars in a 2-2-2-2 pattern. The beat is stressed as follows:
• | x - | x - | - x | x - |
• where x is a beat, - is silent and | indicates a bar.
• 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.

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