The Buckwheat-Grain of Cymes

The Buckwheat-grain of Cymes is a form of music used for entertainment originating in The Questionable Riverside. The rules of the form are applied by composers to produce individual pieces of music which can be performed. The music is played on two eyedo. The entire performance is to be very loud. The melody has short phrases throughout the form. Only one pitch is ever played at a time. It is performed in the kecace rhythm. Throughout, when possible, composers and performers are to locally improvise, alternate tension and repose and play staccato.

• Each eyedo always does the main melody and should be spirited.
• The Buckwheat-grain of Cymes has a well-defined multi-passage structure: a brief theme, a brief exposition of the theme, a recapitulation of the theme and a coda.
• The theme is slow. Each of the eyedo covers its entire range from the wispy low register to the slicing high register. The passage is performed using the ithi scale. The passage should sometimes include a rising melody pattern with flattened second degree, always include a falling melody pattern with flattened fourth degree and sharpened third degree as well as trills and often include a rising-falling melody pattern with flattened sixth degree on the rise as well as glides and trills.
• The exposition slows and broadens. Each of the eyedo covers its entire range from the wispy low register to the slicing high register. The passage is performed using the ithi scale. The passage should always include a falling-rising melody pattern with sharpened third degree on the rise as well as mordents and legato, always include a rising-falling melody pattern and always include a rising melody pattern with flattened fifth degree, flattened third degree and flattened second degree as well as rapid runs, arpeggios and legato.
• The recapitulation accelerates as it proceeds. Each of the eyedo stays in the slicing high register. The passage is performed using the emayethi scale. The passage should sometimes include a falling-rising melody pattern with flattened third degree on the fall as well as grace notes, mordents, trills and rapid runs, often include a falling melody pattern with sharpened fifth degree as well as mordents and arpeggios, always include a rising melody pattern with flattened fourth degree, sharpened second degree and sharpened fifth degree as well as mordents, arpeggios and legato and often include a rising-falling melody pattern with flattened seventh degree on the fall and sharpened sixth degree on the fall as well as glides, grace notes and trills.
• The coda is moderately paced. Each of the eyedo covers its entire range from the wispy low register to the slicing high register. The passage is performed using the umamalu scale. The passage should always include a rising-falling melody pattern with sharpened seventh degree on the rise as well as glides and rapid runs and often include a rising melody pattern with sharpened second degree as well as rapid runs and legato.
• Scales are constructed from twelve notes spaced evenly throughout the octave. The tonic note is a fixed tone passed from teacher to student.
• The ithi hexatonic scale is thought of as two disjoint chords spanning two perfect fourths. These chords are named oyifolewe and izeli.
• The oyifolewe tetrachord is the 1st, the 2nd, the 3rd and the 6th degrees of the semitone octave scale.
• The izeli trichord is the 8th, the 9th and the 13th (completing the octave) degrees of the semitone octave scale.
• The emayethi heptatonic scale is thought of as two disjoint chords spanning two perfect fourths. These chords are named iwarivuli and ucame.
• The iwarivuli tetrachord is the 1st, the 2nd, the 4th and the 6th degrees of the semitone octave scale.
• The ucame tetrachord is the 8th, the 9th, the 10th and the 13th (completing the octave) degrees of the semitone octave scale.
• The umamalu heptatonic scale is thought of as two disjoint chords spanning two perfect fourths. These chords are named iwarivuli and bone.
• The bone tetrachord is the 8th, the 9th, the 11th and the 13th (completing the octave) degrees of the semitone octave scale.
• The kecace rhythm is made from two patterns: the tafalofi and the ezococa. The patterns are to be played in the same beat, allowing one to repeat before the other is concluded.
• The tafalofi rhythm is a single line with twenty-seven beats divided into four bars in a 6-9-7-5 pattern. The beat is stressed as follows:
• | x - x ! x x | - - - - - - - - x | - x x - x - X | x - x X x |
• where ! marks the primary accent, X marks an accented beat, x is a beat, - is silent and | indicates a bar.
• The ezococa rhythm is a single line with thirty-two beats divided into four bars in a 8-8-8-8 pattern. The beats are named ebecari (spoken eb), viceva (vi), moro (mo), wonethu (wo), bolo (bo), ocaquica (oc), slothepanine (slo) and feri (fe). The beat is stressed as follows:
• | x X x x x x - x | - - - x - - - - | x x x - ! x x - | x x x X - - x - |
• where ! marks the primary accent, X marks an accented beat, x is a beat, - is silent and | indicates a bar.

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