The Cranberry of Cherries

The Cranberry of Cherries is a form of music used for entertainment originating in The Wills of Bottling. 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 threz and a pevholi. The musical voices bring melody, counterpoint and rhythm. The entire performance should be broad and slows down and dies away as it draws to a close. The melody has phrases of varied length, while the counterpoint has mid-length phrases throughout the form. It is performed using the ohural scale. Throughout, when possible, composers and performers are to add fills and alternate tension and repose.

• The singer always does the main melody.
• The threz always provides the rhythm.
• The pevholi always does the counterpoint melody.
• The Cranberry of Cherries has a well-defined multi-passage structure: a verse and a chorus all repeated one times, a bridge-passage and a finale.
• In the verse, the singer's voice ranges from the middle register to the high register. This passage typically has some sparse chords. The passage is performed in the naccak rhythm.
• In the chorus, the singer's voice stays in the high register. Only one pitch is ever played at a time in this passage. The passage is performed in free rhythm.
• In the bridge-passage, the singer's voice stays in the high register. Only one pitch is ever played at a time in this passage. The passage is performed in the ibbekur rhythm.
• In the finale, the singer's voice ranges from the middle register to the high register. Only one pitch is ever played at a time in this passage. The passage is performed in the kungujith rhythm.
• Scales are constructed from fourteen notes dividing the octave. In quartertones, their spacing is roughly 1-x-x-x-x-xx-xx-x-xx-x-xO, where 1 is the tonic, O marks the octave and x marks other notes. The tonic note is a fixed tone passed from teacher to student.
• The ohural pentatonic scale is constructed by selection of degrees from the fundamental scale. The degrees selected are the 1st, the 2nd, the 7th, the 10th and the 14th.
• The naccak rhythm is made from two patterns: the desle (considered the primary) and the aheda. The patterns are to be played over the same period of time, concluding together regardless of beat number.
• The desle rhythm is a single line with fourteen beats divided into seven bars in a 2-2-2-2-2-2-2 pattern. The beats are named pethrebinpu (spoken pe) and uthrogumat (uthr). The beat is stressed as follows:
• | - x | - x | x - | x - | - x | x - | x x |
• where x is a beat, - is silent and | indicates a bar.
• The aheda rhythm is a single line with four beats. The beat is stressed as follows:
• | - - x x |
• where x is a beat, - is silent and | indicates a bar.
• The ibbekur rhythm is made from two patterns: the aheda (considered the primary) and the oruslumcopo. The patterns are to be played over the same period of time, concluding together regardless of beat number.
• The oruslumcopo rhythm is a single line with eight beats. The beats are named othdo (spoken othd), ithut (ith), iquur (iq), ibalarek (ib), uwakri (uw), xathrato (xa), furithali (fu) and vuthrilsim (vu). The beat is stressed as follows:
• | - X - - x - x - |
• where X marks an accented beat, x is a beat, - is silent and | indicates a bar.
• The kungujith rhythm is made from two patterns: the oruslumcopo (considered the primary) and the aheda. The patterns are to be played over the same period of time, concluding together regardless of beat number.

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