The Corymb of Cranberries

The Corymb of Cranberries is a form of music used for entertainment originating in The Curse of Clear-Garnets. The form guides musicians during improvised performances. Two speakers recite any composition of The Schorl Fortune while the music is played on a tukxu, a zebra and two dak. The musical voices cover melody, harmony and rhythm. The entire performance accelerates as it proceeds, and it is to be moderately soft. The melody has phrases of varied length throughout the form. Never more than an interval sounds at once. It is performed in the ebramaz rhythm. Throughout, when possible, performers are to match notes and syllables.

• Each speaker always should perform expressively.
• The tukxu always does the main melody and should feel tender. The voice uses its entire range from the dark low register to the pure high register.
• The zebra always does harmony and should be jumpy.
• Each dak always provides the rhythm and should be vigorous.
• The Corymb of Cranberries has the following structure: a passage and another one to two passages possibly all repeated.
• The first simple passage is performed using the odo scale.
• Each of the second simple passages is performed using the tekug scale.
• Scales are conceived of as two chords built using a division of the perfect fourth interval into eleven notes. The tonic note is a fixed tone passed from teacher to student. After a scale is constructed, the root note of chords are named. The names are strob (spoken stro) and kestraruga (ke).
• As always, the odo heptatonic scale is thought of as two disjoint chords drawn from the fundamental division of the perfect fourth. These chords are named ozzok and masul.
• The ozzok tetrachord is the 1st, the 5th, the 9th and the 11th degrees of the fundamental perfect fourth division.
• The masul tetrachord is the 1st, the 3rd, the 9th and the 11th degrees of the fundamental perfect fourth division.
• As always, the tekug heptatonic scale is thought of as two disjoint chords drawn from the fundamental division of the perfect fourth. These chords are named nadu and assna.
• The nadu tetrachord is the 1st, the 2nd, the 6th and the 11th degrees of the fundamental perfect fourth division.
• The assna tetrachord is the 1st, the 3rd, the 7th and the 11th degrees of the fundamental perfect fourth division.
• The ebramaz rhythm is made from two patterns: the exazgong (considered the primary) and the alazgo. The patterns are to be played over the same period of time, concluding together regardless of beat number.
• The exazgong rhythm is a single line with eight beats. The beat is stressed as follows:
• | x - - x x x - x |
• where x is a beat, - is silent and | indicates a bar.
• The alazgo rhythm is a single line with sixteen beats divided into eight bars in a 2-2-2-2-2-2-2-2 pattern. The beats are named zesnunsura (spoken ze) and buzsp (bu). The beat is stressed as follows:
• | - x | x - | x - | - x | x - | x - | - x | - x |
• where x is a beat, - is silent and | indicates a bar.

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