The Compositional Macadamia-Nuts

The Compositional Macadamia-nuts is a form of music used during marches and military engagements 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 avak and a takgothadur. The musical voices join in melody and counterpoint, harmony and rhythm. The entire performance should evoke tears. The melody and counterpoint both have short phrases throughout the form. It is performed using the un scale and in free rhythm. Throughout, when possible, composers and performers are to use mordents and alternate tension and repose.

• The singer always plays staccato.
• The Compositional Macadamia-nuts has a well-defined multi-passage structure: an introduction, a theme, an exposition of the theme, a bridge-passage, a recapitulation of the theme, a bridge-passage and a finale.
• The introduction is voiced by the melody of the singer reciting nonsensical words and sounds and the harmony of the avak. The passage gradually slows as it comes to an end, and it is to become louder and louder. The singer's voice stays in the high register and the avak stays in the pure high register. Chords are packed close together in dense clusters in this passage.
• The theme is voiced by the melody of the avak. The passage is extremely fast, and it is to start loud then be immediately soft. The avak stays in the wispy low register. This passage features only melodic tones and intervals. The passage should be composed and performed using arpeggios.
• The exposition is voiced by the melody of the avak and the counterpoint of the takgothadur. The passage is at a free tempo, and it is to be moderately soft. The avak stays in the wispy low register and the takgothadur stays in the fragile high register. This passage is richly layered with full chords making use of the available range. The passage should be composed and performed using arpeggios.
• The first bridge-passage is voiced by the melody of the singer reciting The Economic Codex and the counterpoint of the takgothadur. The passage gradually slows as it comes to an end, and it is to become softer and softer. The singer's voice ranges from the low register to the middle register and the takgothadur covers its entire range from the harsh low register to the fragile high register. Only one pitch is ever played at a time in this passage.
• The recapitulation is voiced by the melody of the singer reciting nonsensical words and sounds and the melody of the takgothadur. The passage is half the tempo of the last passage, and it is to be soft. The singer's voice stays in the low register and the takgothadur stays in the harsh low register. Only one pitch is ever played at a time in this passage.
• The second bridge-passage is voiced by the melody of the singer reciting nonsensical words and sounds, the melody of the takgothadur and the rhythm of the avak. The passage is moderately paced, and it is to be soft. The singer's voice stays in the low register, the takgothadur covers its entire range from the harsh low register to the fragile high register and the avak covers its entire range from the wispy low register to the pure high register. Chords are packed close together in dense clusters in this passage. The passage should be composed and performed using fills.
• The finale is voiced by the melody of the avak and the counterpoint of the takgothadur. The passage is moderately paced, and it is to be very soft. The avak stays in the pure high register and the takgothadur stays in the harsh low register. This passage features only melodic tones and intervals.
• 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 un heptatonic scale is constructed by selection of degrees from the fundamental scale. The degrees selected are the 1st, the 2nd, the 9th, the 10th, the 13th, the 16th and the 17th.

Events