The Cashews of Blossoming

The Cashews of Blossoming is a form of music used for entertainment originating in The Equality of Foreknowledges. The rules of the form are applied by composers to produce individual pieces of music which can be performed. Two speakers recite The Pensive Metallurgy while the music is played on a atia and a itoq. The musical voices bring melody with harmony. The melody has mid-length phrases throughout the form. Never more than an interval sounds at once. It is performed using the oqua scale and in the ked rhythm. Throughout, when possible, composers and performers are to use grace notes and locally improvise. From beginning to end, when improvising or composing, artists should sometimes include a falling melody pattern, sometimes include a rising-falling melody pattern with glides, mordents and staccato, sometimes include a rising melody pattern with rapid runs and sometimes include a falling-rising melody pattern with flattened fourth degree on the rise as well as glides, trills, rapid runs and staccato.

• The Cashews of Blossoming has a well-defined multi-passage structure: an introduction and a verse and a chorus all repeated one to two times.
• The introduction is voiced by the melody of the itoq and the speakers. The passage should be delicate and slows and broadens, and it is to become softer and softer. The passage should be composed and performed using mordents.
• The verse is voiced by the melody of the atia, the harmony of the itoq and the speakers. The passage should evoke tears and slows and broadens, and it is to be soft. The atia ranges from the warm low register to the crisp high register. The passage should be composed and performed using mordents.
• The chorus is voiced by the melody of the atia and the speakers. The passage should be delicate and is fast, and it is to be moderately soft. The atia is confined to the reedy top register. The passage should be composed and performed using legato.
• Scales are constructed from twenty-four notes spaced evenly throughout the octave. The tonic note is fixed only at the time of performance. After a scale is constructed, notes are named according to degree. The names are at (spoken at), iadok (iad), poqin (po), oti (ot), nuod (nuo), ojip (oj) and qat (qa).
• The oqua hexatonic scale is thought of as two disjoint chords spanning two perfect fourths. These chords are named edo and ahdid.
• The edo tetrachord is the 1st, the 4th, the 8th and the 11th degrees of the quartertone octave scale.
• The ahdid trichord is the 15th, the 23rd and the 25th (completing the octave) degrees of the quartertone octave scale.
• The ked rhythm is made from two patterns: the akoi (considered the primary) and the jed. The patterns are to be played over the same period of time, concluding together regardless of beat number.
• The akoi rhythm is a single line with six beats. The beats are named op (spoken op), fiepo (fie), ezok (ez), qapoaq (qa), akoaz (ak) and kidoi (ki). The beat is stressed as follows:
• | - x - - x x |
• where x is a beat, - is silent and | indicates a bar.
• The jed rhythm is a single line with eight beats divided into four bars in a 2-2-2-2 pattern. The beat is stressed as follows:
• | - x | - x | - x | x x |
• where x is a beat, - is silent and | indicates a bar.

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