The Guava of Chanting

The Guava of Chanting is a form of music used during marches and military engagements originating in The Worth Jobsheet. The rules of the form are applied by composers to produce individual pieces of music which can be performed. The music is played on a ertor, a ithiz and a boded. The music is melody and rhythm without harmony. The entire performance is slow, and it is to be moderately loud. The melody has mid-length phrases throughout the form. Never more than an interval sounds at once. Throughout, when possible, composers and performers are to syncopate and alternate tension and repose.

• The ertor always does the main melody and should be broad.
• The ithiz always does the main melody and should feel heroic. The voice uses its entire range from the rugged low register to the raspy high register.
• The boded always provides the rhythm and should be broad.
• The Guava of Chanting has the following structure: one to two passages and another one to two lengthy passages.
• In each of the first simple passages, the ertor ranges from the sonorous low register to the sweet middle register and the ithiz covers its entire range from the rugged low register to the raspy high register. Each passage is performed using the kam scale and in the sek rhythm.
• In each of the second simple passages, the ertor covers its entire range from the sonorous low register to the dull high register and the ithiz covers its entire range from the rugged low register to the raspy high register. Each passage is performed using the kekorith scale and in the mer rhythm. Each passage should be composed and performed using fills and arpeggios.
• 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 kam hexatonic scale is constructed by selection of degrees from the fundamental scale. The degrees selected are the 1st, the 3rd, the 4th, the 7th, the 8th and the 11th.
• 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 sek rhythm is made from two patterns: the mer (considered the primary) and the ozol. The patterns are to be played over the same period of time, concluding together regardless of beat number.
• The mer rhythm is a single line with four beats divided into two bars in a 2-2 pattern. The beat is stressed as follows:
• | x - | - x |
• where x is a beat, - is silent and | indicates a bar.
• The ozol rhythm is a single line with twenty-one beats divided into seven bars in a 3-3-3-3-3-3-3 pattern. The beat is stressed as follows:
• | - x x'| - x - | x - x | x x'x`| - x x | - - x | - x - |
• where ` marks a beat as early, ' marks a beat as late, x is a beat, - is silent and | indicates a bar.

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