The Nectarous Orchard

The Nectarous Orchard is a form of music used to commemorate important events originating in The Fusible Sabres. The form guides musicians during improvised performances. One to two singers recite nonsensical words and sounds. The melody has mid-length phrases throughout the form. Only one pitch is ever played at a time. It is performed without preference for a scale. Throughout, when possible, performers are to use grace notes, alternate tension and repose and modulate frequently.

• Each singer always does the main melody.
• The Nectarous Orchard has a well-defined multi-passage structure: a first theme, an exposition of the first theme, a bridge-passage, a second theme, an exposition of the second theme, a lengthy bridge-passage and a synthesis of previous passages.
• The first theme should be made with skill and is at a free tempo, and it is to be moderately soft. Each of the singers' voices ranges from the middle register to the high register. The passage is performed in the cuthig rhythm.
• The first exposition should feel mournful and accelerates as it proceeds, and it is to start loud then be immediately soft. Each of the singers' voices covers its entire range. The passage is performed in free rhythm.
• The first bridge-passage should be stately and slows and broadens, and it is to be soft. Each of the singers' voices ranges from the middle register to the high register. The passage is performed in the urngleror rhythm.
• The second theme should evoke tears and is twice the tempo of the last passage, and it is to be moderately soft. Each of the singers' voices stays in the middle register. The passage is performed in the ikogristekil rhythm.
• The second exposition should be triumphant and is at a hurried pace, and it is to be loud. Each of the singers' voices stays in the middle register. The passage is performed in the mithrustal rhythm.
• The second bridge-passage should evoke tears and is at a walking pace, and it is to become softer and softer. Each of the singers' voices ranges from the low register to the middle register. The passage is performed in the inelaz rhythm.
• The synthesis should be spirited and is very slow, and it is to start loud then be immediately soft. Each of the singers' voices stays in the high register. The passage is performed in the senobir rhythm.
• The cuthig rhythm is made from two patterns: the egek and the erith. The patterns are to be played over the same period of time, concluding together regardless of beat number.
• The egek rhythm is a single line with nine beats divided into three bars in a 3-3-3 pattern. The beats are named goruk (spoken go), adokegudim (ad) and aros (ar). The beat is stressed as follows:
• | x x - | - x - | - x - |
• where x is a beat, - is silent and | indicates a bar.
• The erith rhythm is a single line with thirty-two beats divided into four bars in a 8-8-8-8 pattern. The beat is stressed as follows:
• | x - - x x x X - | - - x - - - - - | x - - - - x - - | - X x x x x - - |
• where X marks an accented beat, x is a beat, - is silent and | indicates a bar.
• The urngleror rhythm is made from three patterns: the ster, the erith and the zolibosh. The patterns are to be played over the same period of time, concluding together regardless of beat number.
• The ster rhythm is a single line with three beats. The beats are named ozlomig (spoken oz), comthad (co) and tigir (ti). The beat is stressed as follows:
• | - x x |
• where x is a beat, - is silent and | indicates a bar.
• The zolibosh rhythm is a single line with thirty-two beats divided into four bars in a 8-8-8-8 pattern. The beats are named ngogdok (spoken ngo), agosh (ag), bash (ba), ngleth (ngle), fekut (fe), naz (na), onguden (ong) and vatatudok (va). The beat is stressed as follows:
• | - - - X - x - x | x x X x - x x x | ! x - x 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.
• The ikogristekil rhythm is made from two patterns: the elomamar and the binmonor. The patterns are to be played over the same period of time, concluding together regardless of beat number.
• The elomamar rhythm is a single line with two beats. The beats are named sek (spoken se) and ibmas (ib). The beat is stressed as follows:
• | - x |
• where x is a beat, - is silent and | indicates a bar.
• The binmonor rhythm is a single line with nine beats divided into three bars in a 3-3-3 pattern. The beat is stressed as follows:
• | X x x | x - - | - x x |
• where X marks an accented beat, x is a beat, - is silent and | indicates a bar.
• The mithrustal rhythm is made from two patterns: the binmonor and the gubolil. The patterns are to be played over the same period of time, concluding together regardless of beat number.
• The gubolil rhythm is a single line with four beats. The beat is stressed as follows:
• | - x - - |
• where x is a beat, - is silent and | indicates a bar.
• The inelaz rhythm is made from two patterns: the ster and the elomamar. The patterns are to be played over the same period of time, concluding together regardless of beat number.
• The senobir rhythm is made from two patterns: the tethan and the rilgush. The patterns are to be played over the same period of time, concluding together regardless of beat number.
• The tethan rhythm is a single line with five beats. The beat is stressed as follows:
• | x x x X x |
• where X marks an accented beat, x is a beat and | indicates a bar.
• The rilgush rhythm is a single line with thirty-two beats divided into eight bars in a 4-4-4-4-4-4-4-4 pattern. The beats are named afiddun (spoken af), orramoth (orr), segultumagul (se) and sushet (su). The beat is stressed as follows:
• | x x X x | x x - - | x - x - | x - x - | - - x x | - - x - | - X x x | x x x X |
• where X marks an accented beat, x is a beat, - is silent and | indicates a bar.

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