The Musicianly Sweetcorn

The Musicianly Sweetcorn is a form of music used during marches and military engagements originating in The Chronic Barbarity. The rules of the form are applied by composers to produce individual pieces of music which can be performed. A speaker recites any composition of The Demantoid Grotto while the music is played on a estroslez and a adkospo. The musical voices bring melody with harmony. It is performed in the gul rhythm. Throughout, when possible, composers and performers are to make trills, play rapid runs and alternate tension and repose.

• The speaker always should be fiery.
• The estroslez always does harmony and should perform sweetly.
• The adkospo always does the main melody and should be fiery.
• The Musicianly Sweetcorn has a well-defined multi-passage structure: a theme, an exposition of the theme, a bridge-passage, a recapitulation of the theme and a finale.
• The theme is slow, and it is to be moderately soft. The estroslez stays in the dark low register. The passage has long phrases in the melody. This passage features only melodic tones and intervals. The passage is performed using the zuxaz scale.
• The exposition is very slow, and it is to become softer and softer. The estroslez covers its entire range from the dark low register to the wispy high register. The passage has long phrases in the melody. This passage features only melodic tones and intervals. The passage is performed using the ragu scale.
• The bridge-passage is at a walking pace, and it is to be very loud. The estroslez stays in the dark low register. The passage has mid-length phrases in the melody. This passage features only melodic tones and intervals. The passage is performed using the ozzok scale.
• The recapitulation is fast, and it is to be very loud. The estroslez covers its entire range from the dark low register to the wispy high register. The passage has phrases of varied length in the melody. Only one pitch is ever played at a time in this passage. The passage is performed using the gaxog scale.
• The finale is at a walking pace, and it is to start loud then be immediately soft. The estroslez covers its entire range from the dark low register to the wispy high register. The passage has phrases of varied length in the melody. This passage typically has some sparse chords. The passage is performed using the ozzok scale.
• Scales are constructed from fifteen notes dividing the octave. In quartertones, their spacing is roughly 1-xx-x-x-x-x-xxx-x-xx-xxO, 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. Every note is named. The names are nadu (spoken na), daxst (da), uturo (ut), masul (ma), axslor (ax), bagurod (ba), sastospu (sa), assna (as), xuzestra (xu), roxstat (ro), tekug (te), odo (od), obungasnu (ob), strob (stro) and kestraruga (ke).
• The zuxaz heptatonic scale is constructed by selection of degrees from the fundamental scale. The degrees selected are the 1st, the 2nd, the 6th, the 7th, the 8th, the 11th and the 12th.
• The ragu heptatonic scale is constructed by selection of degrees from the fundamental scale. The degrees selected are the 1st, the 3rd, the 4th, the 8th, the 9th, the 11th and the 13th.
• The ozzok hexatonic scale is constructed by selection of degrees from the fundamental scale. The degrees selected are the 1st, the 3rd, the 5th, the 8th, the 9th and the 10th.
• The gaxog pentatonic scale is constructed by selection of degrees from the fundamental scale. The degrees selected are the 1st, the 5th, the 8th, the 9th and the 13th.
• The gul rhythm is a single line with four beats divided into two bars in a 2-2 pattern. The beat is stressed as follows:
• | x - | - x |
• where x is a beat, - is silent and | indicates a bar.

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