The Peduncular Tone

The Peduncular Tone is a devotional form of music originating in The Mother of Exfoliating. The rules of the form are applied by composers to produce individual pieces of music which can be performed. A singer recites nonsensical words and sounds while the music is played on a renem and two quoslasta. The musical voices are joined in melody. The melody has phrases of varied length throughout the form. It is performed in the siv rhythm. Throughout, when possible, composers and performers are to glide from note to note and locally improvise.

• The singer always does the main melody and should feel mysterious.
• The renem always does the main melody, should feel mysterious and plays rapid runs.
• Each quoslasta always does the main melody and should perform sweetly.
• The Peduncular Tone has a well-defined multi-passage structure: a lengthy chorus and a verse all repeated one to two times, a bridge-passage and a verse and a chorus.
• The first chorus accelerates as it proceeds, and it is to be loud. The singer's voice ranges from the low register to the middle register and the renem stays in the dull low register. Only one pitch is ever played at a time in this passage. The passage is performed using the iquur scale. The passage should be composed and performed using frequent modulation. The passage should always include a falling melody pattern with sharpened fifth degree as well as grace notes, often include a rising melody pattern with sharpened second degree, sharpened sixth degree and sharpened third degree and always include a falling-rising melody pattern with mordents, rapid runs and arpeggios.
• The first verse is at a free tempo, and it is to be very soft. The singer's voice stays in the high register and the renem stays in the heavy middle register. This passage is richly layered with full chords making use of the available range. The passage is performed using the vuthrilsim scale. The passage should always include a rising-falling melody pattern with grace notes, trills and legato, often include a falling melody pattern with flattened seventh degree, flattened fifth degree and sharpened second degree as well as grace notes and always include a falling-rising melody pattern with grace notes, mordents, trills, rapid runs and legato.
• The bridge-passage is moderately fast, and it is to start loud then be immediately soft. The singer's voice ranges from the middle register to the high register and the renem stays in the dull high register. This passage typically has some sparse chords. The passage is performed using the ibalarek scale. The passage should be composed and performed using melismatic phrasing. The passage should often include a falling-rising melody pattern with trills and often include a falling melody pattern with flattened second degree as well as rapid runs and arpeggios.
• The second verse is very fast, and it is to be in whispered undertones. The singer's voice ranges from the low register to the middle register and the renem ranges from the heavy middle register to the dull high register. Only one pitch is ever played at a time in this passage. The passage is performed using the pethrebinpu scale. The passage should always include a falling-rising melody pattern with grace notes and trills, sometimes include a rising melody pattern with mordents and legato, always include a rising-falling melody pattern with grace notes and staccato and sometimes include a falling melody pattern.
• The second chorus is consistently slowing, and it is to be moderately soft. The singer's voice stays in the low register and the renem ranges from the dull low register to the heavy middle register. This passage typically has some sparse chords. The passage is performed using the desle scale. The passage should be composed and performed using melismatic phrasing. The passage should always include a rising melody pattern with mordents 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 a fixed tone passed from teacher to student.
• As always, the iquur hexatonic scale is thought of as two disjoint chords drawn from the fundamental division of the perfect fourth. These chords are named oxuskor and ohug.
• The oxuskor trichord is the 1st, the 3rd and the 11th degrees of the fundamental perfect fourth division.
• The ohug tetrachord is the 1st, the 4th, the 10th and the 11th degrees of the fundamental perfect fourth division.
• As always, the vuthrilsim heptatonic 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 tetrachord is the 1st, the 6th, the 7th and the 11th degrees of the fundamental perfect fourth division.
• The oruslumcopo tetrachord is the 1st, the 2nd, the 6th and the 11th degrees of the fundamental perfect fourth division.
• As always, the ibalarek hexatonic scale is thought of as two disjoint chords drawn from the fundamental division of the perfect fourth. These chords are named ohural and ohug.
• The ohural trichord is the 1st, the 5th and the 11th degrees of the fundamental perfect fourth division.
• As always, the pethrebinpu hexatonic scale is thought of as two disjoint chords drawn from the fundamental division of the perfect fourth. These chords are named deh and oruslumcopo.
• The deh trichord is the 1st, the 7th and the 11th degrees of the fundamental perfect fourth division.
• As always, the desle hexatonic scale is thought of as two disjoint chords drawn from the fundamental division of the perfect fourth. These chords are named ohural and oruslumcopo.
• The siv rhythm is made from two patterns: the uthrogumat (considered the primary) and the gad. The patterns are to be played over the same period of time, concluding together regardless of beat number.
• The uthrogumat 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 gad rhythm is a single line with two beats. The beats are named anar (spoken an) and imesathi (im). The beat is stressed as follows:
• | x - |
• where x is a beat, - is silent and | indicates a bar.

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