The Lyrical Pear

The Lyrical Pear is a form of music used for entertainment originating in The Government of Sports. The rules of the form are applied by composers to produce individual pieces of music which can be performed. A chanter recites nonsensical words and sounds. The melody has short phrases throughout the form. Only one pitch is ever played at a time. It is performed using the nuod scale and in the qada rhythm. Throughout, when possible, composers and performers are to alternate tension and repose.

• The chanter always does the main melody, should perform with feeling and locally improvises.
• The Lyrical Pear has a well-defined multi-passage structure: an introduction, a theme, a lengthy exposition of the theme, a brief recapitulation of the theme, a bridge-passage and a finale.
• The introduction is moderately paced, and it is to start loud then be immediately soft. The chanter's voice ranges from the low register to the middle register. The passage should be composed and performed using rapid runs and staccato.
• The theme is half the tempo of the last passage, and it is to be moderately soft. The chanter's voice covers its entire range.
• The exposition resumes the original tempo, and it is to be very soft. The chanter's voice ranges from the middle register to the high register.
• The recapitulation accelerates as it proceeds, and it is to start loud then be immediately soft. The chanter's voice ranges from the low register to the middle register.
• The bridge-passage is moderately paced, and it is to be loud. The chanter's voice covers its entire range.
• The finale is slower than the last passage, and it is to be moderately loud. The chanter's voice stays in the middle register. The passage should be composed and performed using rapid runs.
• Scales are constructed from twelve notes spaced evenly throughout the octave. The tonic note is fixed only at the time of performance.
• The nuod pentatonic scale is thought of as two disjoint chords spanning a tritone and a perfect fourth. These chords are named kotoq and at.
• The kotoq trichord is the 1st, the 6th and the 7th degrees of the semitone octave scale.
• The at trichord is the 8th, the 12th and the 13th (completing the octave) degrees of the semitone octave scale.
• The qada rhythm is made from two patterns: the qapoaq and the akoaz. 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 akoaz rhythm is a single line with four beats. The beat is stressed as follows:
• | x - - - |
• where x is a beat, - is silent and | indicates a bar.

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