The Lyrical Coffee-Cherry

The Lyrical Coffee-cherry is a form of music used for entertainment originating in The Worth Jobsheet. The form guides musicians during improvised performances. The music is played on a tor and one to five orin. The music is melody and rhythm without harmony. The entire performance gradually slows as it comes to an end. The melody has mid-length phrases throughout the form. It is performed in the elomamar rhythm.

• The tor always does the main melody, should feel calm and is to be soft.
• Each orin always provides the rhythm, should perform with feeling and is to be in whispered undertones.
• The Lyrical Coffee-cherry has a well-defined multi-passage structure: a verse and a chorus, a bridge-passage and a verse and a chorus.
• Chords are packed close together in dense clusters in this passage. The first verse is performed using the tinos scale.
• This passage is richly layered with full chords making use of the available range. The first chorus is performed using the un scale. The passage should be performed using syncopation.
• Chords are packed close together in dense clusters in this passage. The bridge-passage is performed using the anon scale. The passage should be performed using syncopation.
• This passage typically has some sparse chords. The second verse is performed using the febamus scale.
• Only one pitch is ever played at a time in this passage. The second chorus is performed using the kekorith scale.
• Scales are constructed from fifteen notes dividing the octave. In quartertones, their spacing is roughly 1-x-xx-x-x-x-xxx-xx-x-xxO, 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 tinos pentatonic scale is constructed by selection of degrees from the fundamental scale. The degrees selected are the 1st, the 2nd, the 6th, the 10th and the 11th.
• The un heptatonic scale is constructed by selection of degrees from the fundamental scale. The degrees selected are the 1st, the 2nd, the 5th, the 6th, the 7th, the 11th and the 13th.
• The anon 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 9th and the 11th.
• The febamus 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 kekorith heptatonic scale is constructed by selection of degrees from the fundamental scale. The degrees selected are the 1st, the 3rd, the 5th, the 7th, the 9th, the 11th and the 12th.
• The elomamar rhythm is made from three patterns: the rokul, the zulal and the afonan. The patterns are to be played over the same period of time, concluding together regardless of beat number.
• The rokul rhythm is a single line with two beats. The beat is stressed as follows:
• | x x |
• where x is a beat and | indicates a bar.
• The zulal rhythm is a single line with four beats divided into two bars in a 2-2 pattern. The beats are named kistek (spoken ki) and lesul (le). The beat is stressed as follows:
• | x x | - x |
• where x is a beat, - is silent and | indicates a bar.
• The afonan 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 | - x |
• where x is a beat, - is silent and | indicates a bar.

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