The Catkin of Raspberries

The Catkin of Raspberries is a devotional form of music originating in The Wavy Giant-Grouper. The rules of the form are applied by composers to produce individual pieces of music which can be performed. One to four speakers recite any composition of The Pensive Logic while the music is played on a bunanaleba. The musical voices are joined in melody. The entire performance is at a free tempo. The melody has mid-length phrases throughout the form. It is performed using the ebecari scale and in the ominede rhythm. Throughout, when possible, composers and performers are to locally improvise. From beginning to end, when improvising or composing, artists should sometimes include a falling melody pattern with grace notes and mordents, often include a rising melody pattern with flattened third degree as well as legato, sometimes include a rising-falling melody pattern with sharpened sixth degree on the rise as well as glides, grace notes and rapid runs and always include a falling-rising melody pattern with flattened second degree on the fall as well as mordents and staccato.

• Each speaker always should perform with feeling.
• The bunanaleba always does the main melody and should perform sweetly. The harsh voice uses its entire range.
• The Catkin of Raspberries has the following structure: a theme and a series of variations on the theme.
• The theme is to start loud then be immediately soft. Chords are packed close together in dense clusters in this passage.
• The series of variations is to be very soft. This passage typically has some sparse chords.
• Scales are conceived of as two chords built using a division of the perfect fourth interval into eight notes. The tonic note is a fixed tone passed from teacher to student. After a scale is constructed, notes are named according to degree. The names are viceva (spoken vi), moro (mo), ebalo (eb), wonethu (wo), bolo (bo), ocaquica (oc) and slothepanine (slo).
• As always, the ebecari hexatonic scale is thought of as two disjoint chords drawn from the fundamental division of the perfect fourth. These chords are named ipila and bone.
• The ipila tetrachord is the 1st, the 2nd, the 5th and the 8th degrees of the fundamental perfect fourth division.
• The bone trichord is the 1st, the 3rd and the 8th degrees of the fundamental perfect fourth division.
• The ominede rhythm is made from three patterns: the cowe (considered the primary), the feri and the uwame. The patterns are to be played over the same period of time, concluding together regardless of beat number.
• The cowe rhythm is a single line with fifteen beats divided into three bars in a 5-5-5 pattern. The beats are named fi (spoken fi), acimedewe (ac), tafalofi (ta), omarime (om) and fefa (fe). The beat is stressed as follows:
• | x - - - x | x - x - X | x`x X - - |
• where X marks an accented beat, ` marks a beat as early, x is a beat, - is silent and | indicates a bar.
• The feri rhythm is a single line with eight beats. The beat is stressed as follows:
• | - - - - - x - - |
• where x is a beat, - is silent and | indicates a bar.
• The uwame rhythm is a single line with eight beats. The beat is stressed as follows:
• | - x x - x - X'x |
• where X marks an accented beat, ' marks a beat as late, x is a beat, - is silent and | indicates a bar.

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