The Musicianly Bitter-Oranges

The Musicianly Bitter-oranges is a form of music used for entertainment originating in The Staggering Table. The rules of the form are applied by composers to produce individual pieces of music which can be performed. A singer recites nonsensical words and sounds while the music is played on a zegeth. The musical voices join in melody and counterpoint, harmony and rhythm. The melody has short phrases, while the counterpoint has phrases of varied length throughout the form. The music repeats for as long as necessary. It is performed in free rhythm. Throughout, when possible, composers and performers are to use grace notes, add fills, play arpeggios and play staccato.

• The singer always makes trills.
• The zegeth always makes trills.
• The Musicianly Bitter-oranges has a well-defined multi-passage structure: a lengthy first theme, an exposition of the first theme, a bridge-passage, a second theme, an exposition of the second theme, a bridge-passage and a synthesis of previous passages.
• The first theme is voiced by the melody of the zegeth and the harmony of the singer reciting nonsensical words and sounds. The passage is fast, and it is to become softer and softer. The singer's voice ranges from the middle register to the high register. This passage features only melodic tones and intervals. The passage is performed using the ong scale. The passage should be composed and performed using glides.
• The first exposition is voiced by the melody of the singer reciting any composition of The Prurient Discernment and the melody of the zegeth. The passage is extremely fast, and it is to be moderately loud. The singer's voice covers its entire range. Only one pitch is ever played at a time in this passage. The passage is performed using the anon scale.
• The first bridge-passage is voiced by the melody of the singer reciting nonsensical words and sounds and the harmony of the zegeth. The passage is extremely fast, and it is to be in whispered undertones. The singer's voice covers its entire range. This passage features only melodic tones and intervals. The passage is performed using the febamus scale. The passage should be composed and performed using glides.
• The second theme is voiced by the melody of the singer reciting The Plan of Textbooks and the counterpoint of the zegeth. The passage is very slow, and it is to be moderately soft. The singer's voice stays in the low register. Only one pitch is ever played at a time in this passage. The passage is performed using the kekorith scale. The passage should be composed and performed using glides.
• The second exposition is voiced by the melody of the singer reciting The Demonstrable Subjectivity and the melody of the zegeth. The passage slows and broadens, and it is to be soft. The singer's voice ranges from the low register to the middle register. Only one pitch is ever played at a time in this passage. The passage is performed using the kam scale.
• The second bridge-passage is voiced by the melody of the zegeth and the counterpoint of the singer reciting The Exegetic Thought. The passage is extremely fast, and it is to start loud then be immediately soft. The singer's voice ranges from the low register to the middle register. Only one pitch is ever played at a time in this passage. The passage is performed using the vallal scale.
• The synthesis is voiced by the melody of the singer reciting nonsensical words and sounds and the rhythm of the zegeth. The passage gradually slows as it comes to an end, and it is to be loud. The singer's voice stays in the middle register. Only one pitch is ever played at a time in this passage. The passage is performed using the tinos scale. The passage should be composed and performed using glides.
• Scales are constructed from twenty-one notes dividing the octave. In quartertones, their spacing is roughly 1xxxxx-xxxx-xxxxxxxxxx-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. Every note is named. The names are afonan (spoken af), stat (sta), vazast (va), mudesod (mu), liloran (li), toker (to), madensham (ma), imkekir (imk), rekom (re), ozisash (oz), tamosh (ta), mer (me), zulal (zu), kistek (ki), lesul (le), sak (sa), odulimozsen (od), nebulursed (ne), rokul (ro), elomamar (el) and sek (se).
• The ong heptatonic scale is constructed by selection of degrees from the fundamental scale. The degrees selected are the 1st, the 2nd, the 8th, the 10th, the 12th, the 16th and the 19th.
• The anon pentatonic scale is constructed by selection of degrees from the fundamental scale. The degrees selected are the 1st, the 5th, the 10th, the 15th and the 21st.
• The febamus hexatonic scale is constructed by selection of degrees from the fundamental scale. The degrees selected are the 1st, the 5th, the 10th, the 15th, the 18th and the 21st.
• The kekorith hexatonic scale is constructed by selection of degrees from the fundamental scale. The degrees selected are the 1st, the 6th, the 10th, the 14th, the 17th and the 21st.
• The kam pentatonic scale is constructed by selection of degrees from the fundamental scale. The degrees selected are the 1st, the 6th, the 8th, the 17th and the 20th.
• The vallal hexatonic scale is constructed by selection of degrees from the fundamental scale. The degrees selected are the 1st, the 4th, the 11th, the 13th, the 17th and the 20th.
• The tinos hexatonic scale is constructed by selection of degrees from the fundamental scale. The degrees selected are the 1st, the 5th, the 9th, the 12th, the 16th and the 21st.

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