The Bloom of Blood-Amaranth-Grains

The Bloom of Blood-amaranth-grains is a form of music used during marches and military engagements originating in The Race of Speech. 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 edra, a ordesluh and a sere. The musical voices bring melody, counterpoint and rhythm. The entire performance should be merry, and it is to be soft. The melody and counterpoint both have short phrases throughout the form. It is performed using the vuthrilsim scale and in the wut rhythm. Throughout, when possible, composers and performers are to glide from note to note. The heavy voice uses its entire range.

• The Bloom of Blood-amaranth-grains has a well-defined multi-passage structure: a passage, a brief finale and a coda.
• The simple passage is voiced by the melody of the edra and the counterpoint of the sere. The passage is at a free tempo. The edra covers its entire range and the sere covers its entire range from the wavering low register to the dark high register. This passage typically has some sparse chords.
• The finale is voiced by the melody of the ordesluh and the counterpoint of the sere. The passage is very fast. The ordesluh ranges from the focused middle register to the ringing high register and the sere stays in the dark high register. This passage typically has some sparse chords.
• The coda is voiced by the melody of the ordesluh, the melody of the sere and the rhythm of the edra. The passage is twice the tempo of the last passage. The ordesluh ranges from the harsh low register to the focused middle register, the sere covers its entire range from the wavering low register to the dark high register and the edra covers its entire range. This passage features only melodic tones and intervals. The passage should be composed and performed using arpeggios and legato.
• Scales are conceived of as two chords built using a division of the perfect fourth interval into eleven notes. The tonic note is fixed only at the time of performance. After a scale is constructed, the root note of chords are named. The names are desle (spoken de) and pethrebinpu (pe).
• As always, the vuthrilsim hexatonic scale is thought of as two disjoint chords drawn from the fundamental division of the perfect fourth. These chords are named mushast and oruslumcopo.
• The mushast trichord is the 1st, the 5th and the 11th degrees of the fundamental perfect fourth division.
• The oruslumcopo tetrachord is the 1st, the 5th, the 6th and the 11th degrees of the fundamental perfect fourth division.
• The wut rhythm is made from two patterns: the iwarolera (considered the primary) and the oquil. The patterns are to be played over the same period of time, concluding together regardless of beat number.
• The iwarolera rhythm is a single line with four beats. The beat is stressed as follows:
• | x X x x |
• where X marks an accented beat, x is a beat and | indicates a bar.
• The oquil rhythm is a single line with twenty beats divided into five bars in a 4-4-4-4-4 pattern. The beats are named bokem (spoken bo), inal (in), warosp (wa) and vope (vo). The beat is stressed as follows:
• | x - - - | - - x - | x - - - | x ! - x | x - X x |
• where ! marks the primary accent, X marks an accented beat, x is a beat, - is silent and | indicates a bar.

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