The Orange of Winter-Melons

The Orange of Winter-melons is a form of music used for entertainment originating in The Harp-Seal of Shying. The rules of the form are applied by composers to produce individual pieces of music which can be performed. The music is played on three emayini and a ovisaga. The musical voices join in melody and counterpoint, harmony and rhythm. The melody and counterpoint both have short phrases throughout the form. The music repeats for as long as necessary. It is performed using the everinopefa scale and in free rhythm. Throughout, when possible, composers and performers are to play rapid runs and modulate frequently.

• Each emayini always should bring a sense of motion and is to be loud.
• The ovisaga always should be melancholic and is to be moderately soft.
• The Orange of Winter-melons has a well-defined multi-passage structure: an introduction, a first theme, an exposition of the first theme, a second theme, a brief exposition of the second theme, a bridge-passage, a brief synthesis of previous passages, a lengthy bridge-passage and a finale.
• The introduction is voiced by the melody of the emayini. The passage is extremely fast. Only one pitch is ever played at a time in this passage.
• The first theme is voiced by the melody of the ovisaga and the counterpoint of the emayini. The passage is at a hurried pace. This passage is richly layered with full chords making use of the available range.
• The first exposition is voiced by the melody of the ovisaga and the harmony of the emayini. The passage is at a hurried pace. This passage features only melodic tones and intervals.
• The second theme is voiced by the melody of the emayini and the melody of the ovisaga. The passage is fast. Chords are packed close together in dense clusters in this passage.
• The second exposition is voiced by the melody of the emayini. The passage is very slow. This passage is richly layered with full chords making use of the available range.
• The first bridge-passage is voiced by the melody of the emayini and the harmony of the ovisaga. The passage is moderately fast. This passage features only melodic tones and intervals.
• The synthesis is voiced by the melody of the emayini. The passage is very slow. This passage typically has some sparse chords.
• The second bridge-passage is voiced by the melody of the ovisaga and the harmony of the emayini. The passage slows and broadens. This passage typically has some sparse chords.
• The finale is voiced by the melody of the emayini and the rhythm of the ovisaga. The passage is extremely fast. This passage is richly layered with full chords making use of the available range.
• Scales are constructed from fourteen notes dividing the octave. In quartertones, their spacing is roughly 1-x-xx-x-x-x-xxx-x-x-x-xO, where 1 is the tonic, O marks the octave and x marks other notes. The tonic note is a fixed tone passed from teacher to student.
• The everinopefa hexatonic scale is constructed by selection of degrees from the fundamental scale. The degrees selected are the 1st, the 3rd, the 6th, the 7th, the 10th and the 12th.

Events