The Drupe of Fruit

The Drupe of Fruit is a form of music used during marches and military engagements originating in The Fusible Sabres. 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 distong, a uthmisor and a orbon. The music is melody and rhythm without harmony. The entire performance is very slow. The melody has short phrases throughout the form. It is performed using the rekom scale and in the olis rhythm. Throughout, when possible, composers and performers are to alternate tension and repose.

• The distong always does the main melody.
• The uthmisor always provides the rhythm.
• The orbon always provides the rhythm.
• The Drupe of Fruit 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 bridge-passage and a synthesis of previous passages.
• The first theme is to become softer and softer. The orbon stays in the liquid low register. This passage features only melodic tones and intervals.
• The first exposition is to be moderately soft. The orbon stays in the rich middle register. This passage features only melodic tones and intervals.
• The first bridge-passage is to fade into silence. The orbon covers its entire range. Only one pitch is ever played at a time in this passage.
• The second theme is to be soft. The orbon ranges from the liquid low register to the rich middle register. Only one pitch is ever played at a time in this passage.
• The second exposition is to be in whispered undertones. The orbon ranges from the rich middle register to the liquid high register. Chords are packed close together in dense clusters in this passage.
• The second bridge-passage is to become softer and softer. The orbon ranges from the rich middle register to the liquid high register. Chords are packed close together in dense clusters in this passage.
• The synthesis is to become louder and louder. The orbon stays in the liquid low register. This passage features only melodic tones and intervals.
• 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. Every note is named. The names are tamosh (spoken ta), muzlom (mu), ozol (oz), mer (me), zulal (zu), kistek (ki), lesul (le), sak (sa), odulimozsen (od), nebulursed (ne) and rokul (ro).
• As always, the rekom heptatonic scale is thought of as two disjoint chords drawn from the fundamental division of the perfect fourth. These chords are named un and stat.
• The un tetrachord is the 1st, the 4th, the 8th and the 11th degrees of the fundamental perfect fourth division.
• The stat tetrachord is the 1st, the 2nd, the 3rd and the 11th degrees of the fundamental perfect fourth division.
• The olis rhythm is made from two patterns: the ster 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.

Events