The Lilac Custard-Apple

The Lilac Custard-apple is a form of music used for entertainment originating in The Alone Bib. The rules of the form are applied by composers to produce individual pieces of music which can be performed. A speaker recites nonsensical words and sounds while the music is played on one to six relodur and three arkot. The musical voices join in melody, counterpoint and harmony. The entire performance should be made sweetly. The counterpoint melody has short phrases throughout the form. Never more than an interval sounds at once. It is performed in the binmonor rhythm.

• Each arkot always does the main melody and makes trills.
• The Lilac Custard-apple has a well-defined multi-passage structure: a first theme, a lengthy exposition of the first theme, a second theme, a brief exposition of the second theme and a brief synthesis of previous passages.
• The first theme is voiced by the melody of the arkot and the speaker reciting any composition of The Peduncular Guile. The passage is at a hurried pace, and it is to be very loud. The passage has phrases of varied length in the melody. The passage is performed using the rekom scale.
• The first exposition is voiced by the melody of the relodur, the melody of the arkot and the speaker reciting nonsensical words and sounds. The passage slows and broadens, and it is to start loud then be immediately soft. Each of the relodur stays in the muddy high register. The passage has phrases of varied length in the melody. The passage is performed using the madensham scale.
• The second theme is voiced by the melody of the arkot, the harmony of the relodur and the speaker reciting any composition of The Economist of White-chalcedonies. The passage is very fast, and it is to start loud then be immediately soft. Each of the relodur covers its entire range from the watery low register to the muddy high register. The passage has long phrases in the melody. The passage is performed using the imkekir scale.
• The second exposition is voiced by the melody of the arkot, the counterpoint of the relodur and the speaker reciting any composition of The Brainchild of Doubting. The passage is very fast, and it is to be very loud. Each of the relodur covers its entire range from the watery low register to the muddy high register. The passage has short phrases in the melody. The passage is performed using the anon scale.
• The synthesis is voiced by the melody of the relodur, the melody of the arkot and the speaker reciting any composition of The Economist of White-chalcedonies. The passage is extremely fast, and it is to become softer and softer. Each of the relodur stays in the watery low register. The passage has short phrases in the melody. The passage is performed using the liloran scale.
• Scales are conceived of as two chords built using a division of the perfect fourth interval into eleven notes. The tonic note is fixed only at the time of performance.
• As always, the rekom heptatonic scale is thought of as two disjoint chords drawn from the fundamental division of the perfect fourth. These chords are named febamus and vazast.
• The febamus tetrachord is the 1st, the 4th, the 8th and the 11th degrees of the fundamental perfect fourth division.
• The vazast tetrachord is the 1st, the 4th, the 6th and the 11th degrees of the fundamental perfect fourth division.
• As always, the madensham hexatonic scale is thought of as two disjoint chords drawn from the fundamental division of the perfect fourth. These chords are named kekorith and vazast.
• The kekorith trichord is the 1st, the 7th and the 11th degrees of the fundamental perfect fourth division.
• As always, the imkekir hexatonic scale is thought of as two disjoint chords drawn from the fundamental division of the perfect fourth. These chords are named vallal and tinos.
• The vallal tetrachord is the 1st, the 5th, the 10th and the 11th degrees of the fundamental perfect fourth division.
• The tinos trichord is the 1st, the 7th and the 11th degrees of the fundamental perfect fourth division.
• As always, the anon heptatonic scale is thought of as two disjoint chords drawn from the fundamental division of the perfect fourth. These chords are named un and stat.
• The un tetrachord is the 1st, the 3rd, the 9th and the 11th degrees of the fundamental perfect fourth division.
• The stat tetrachord is the 1st, the 3rd, the 7th and the 11th degrees of the fundamental perfect fourth division.
• As always, the liloran heptatonic scale is thought of as two disjoint chords drawn from the fundamental division of the perfect fourth. These chords are named ong and afonan.
• The ong tetrachord is the 1st, the 4th, the 6th and the 11th degrees of the fundamental perfect fourth division.
• The afonan tetrachord is the 1st, the 4th, the 8th and the 11th degrees of the fundamental perfect fourth division.
• The binmonor rhythm is made from three patterns: the comthad (considered the primary), the tamosh and the erith. The patterns are to be played over the same period of time, concluding together regardless of beat number.
• The comthad rhythm is a single line with four beats. The beat is stressed as follows:
• | X x x - |
• where X marks an accented beat, x is a beat, - is silent and | indicates a bar.
• The tamosh rhythm is a single line with thirty beats divided into five bars in a 6-6-6-6-6 pattern. The beats are named muzlom (spoken mu), ozol (oz), mer (me), zulal (zu), kistek (ki) and lesul (le). The beat is stressed as follows:
• | x X - - x - | - - - x x - | x X x - x - | - X x x x - | - - - x - - |
• where X marks an accented beat, x is a beat, - is silent and | indicates a bar.
• The erith rhythm is a single line with three beats. The beat is stressed as follows:
• | - x - |
• where x is a beat, - is silent and | indicates a bar.

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