The Fruitless Roses

The Fruitless Roses is a form of music used during marches and military engagements originating in The Government of Sports. The form guides musicians during improvised performances. The music is played on a tonik, a tikua and one to four oqua. The musical voices cover melody, harmony and rhythm. The entire performance gradually slows as it comes to an end, and it is to be loud. The melody has short phrases throughout the form. The music repeats for as long as necessary. It is performed using the dotip scale. Throughout, when possible, performers are to make trills, add fills and alternate tension and repose.

• The tonik always does the main melody and should perform expressively.
• The tikua always should be grand.
• Each oqua always should feel mournful.
• The Fruitless Roses has a well-defined multi-passage structure: a brief theme, a bridge-passage and one to two series of variations on the theme.
• The theme is voiced by the melody of the tonik and the melody of the tikua. This passage features only melodic tones and intervals. The passage is performed in free rhythm.
• The bridge-passage is voiced by the melody of the tonik, the melody of the oqua and the harmony of the tikua. Each of the oqua ranges from the slicing middle register to the crisp high register. This passage typically has some sparse chords. The passage is performed in the otep rhythm.
• Each of the series of variations is voiced by the melody of the tonik, the melody of the oqua and the rhythm of the tikua. Each of the oqua stays in the slicing middle register. Only one pitch is ever played at a time in this passage. Each passage is performed in the dokot rhythm.
• Scales are constructed from twelve notes spaced evenly throughout the octave. The tonic note is fixed only at the time of performance.
• The dotip hexatonic scale is thought of as two disjoint chords spanning a tritone and a perfect fourth. These chords are named kotoq and oqua.
• The kotoq trichord is the 1st, the 6th and the 7th degrees of the semitone octave scale.
• The oqua tetrachord is the 8th, the 10th, the 11th and the 13th (completing the octave) degrees of the semitone octave scale.
• The otep rhythm is made from two patterns: the qapoaq and the toad. The patterns are to be played over the same period of time, concluding together regardless of beat number.
• The qapoaq rhythm is a single line with five beats. The beat is stressed as follows:
• | - x X x x |
• where X marks an accented beat, x is a beat, - is silent and | indicates a bar.
• The toad rhythm is a single line with eight beats. The beats are named paciyq (spoken pa), oaf (oaf), ted (te), qeqok (qe), akoi (ak), op (op), fiepo (fie) and ezok (ez). The beat is stressed as follows:
• | - x - x X - - x |
• where X marks an accented beat, x is a beat, - is silent and | indicates a bar.
• The dokot rhythm is made from two patterns: the kot and the toad. The patterns are to be played over the same period of time, concluding together regardless of beat number.
• The kot rhythm is a single line with seven beats. The beat is stressed as follows:
• | x x x - - - X |
• where X marks an accented beat, x is a beat, - is silent and | indicates a bar.

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