The Fruitless Cyme

The Fruitless Cyme is a form of music used during marches and military engagements originating in The Fallacious Nightwing of Ridges. The form guides musicians during improvised performances. Three singers recite any composition of The Conjectural Agnostic while the music is played on a soserxu. The musical voices bring melody with harmony. The entire performance is to be moderately loud. The melody has phrases of varied length throughout the form. It is performed using the ragu scale. Throughout, when possible, performers are to play legato.

• The Fruitless Cyme has a well-defined multi-passage structure: an introduction, a lengthy theme and one to two series of variations on the theme, a lengthy bridge-passage and a finale.
• The introduction is voiced by the melody of the soserxu. The passage should feel mysterious and is extremely fast. The soserxu is confined to the strained top register. Only one pitch is ever played at a time in this passage. The passage is performed in the reraspog rhythm.
• The theme is voiced by the melody of the singers and the harmony of the soserxu. The passage should build as it proceeds and is at a walking pace. Each of the singers' voices ranges from the middle register to the high register and the soserxu ranges from the wavering middle register to the pure high register. This passage features only melodic tones and intervals. The passage is performed in the roxstat rhythm. The passage should be performed using syllabic phrasing.
• Each of the series of variations is voiced by the melody of the singers and the melody of the soserxu. Each passage should feel mournful and is half the tempo of the last passage. Each of the singers' voices stays in the middle register and the soserxu is confined to the liquid low register. Only one pitch is ever played at a time in this passage. Each passage is performed in the zesnunsura rhythm.
• The bridge-passage is voiced by the melody of the singers and the melody of the soserxu. The passage should bring a sense of motion and is at a walking pace. Each of the singers' voices stays in the middle register and the soserxu ranges from the wavering middle register to the pure high register. This passage features only melodic tones and intervals. The passage is performed in the alazgo rhythm. The passage should be performed using syllabic phrasing.
• The finale is voiced by the melody of the soserxu. The passage should build as it proceeds and is at a walking pace. The soserxu covers its entire range from the liquid low register to the strained top register. Only one pitch is ever played at a time in this passage. The passage is performed in free rhythm. The passage should be performed using syllabic phrasing.
• Scales are constructed from thirteen notes dividing the octave. In quartertones, their spacing is roughly 1-x-x-x-x-x--xxx-x-x-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 ragu pentatonic scale is constructed by selection of degrees from the fundamental scale. The degrees selected are the 1st, the 3rd, the 7th, the 9th and the 12th.
• The reraspog rhythm is a single line with two beats. The beat is stressed as follows:
• | x - |
• where x is a beat, - is silent and | indicates a bar.
• The roxstat rhythm is a single line with nine beats divided into three bars in a 3-3-3 pattern. The beat is stressed as follows:
• | - - x | x - x | x X x |
• where X marks an accented beat, x is a beat, - is silent and | indicates a bar.
• The zesnunsura rhythm is made from two patterns: the dusmorabur (considered the primary) and the omuslone. The patterns are to be played over the same period of time, concluding together regardless of beat number.
• The dusmorabur rhythm is a single line with four beats. The beats are named kulu (spoken ku), doram (do), ellusmesmuk (el) and langkaz (la). The beat is stressed as follows:
• | - x'- - |
• where ' marks a beat as late, x is a beat, - is silent and | indicates a bar.
• The omuslone rhythm is a single line with two beats. The beat is stressed as follows:
• | - x |
• where x is a beat, - is silent and | indicates a bar.
• The alazgo rhythm is made from two patterns: the luz (considered the primary) and the tekug. The patterns are to be played over the same period of time, concluding together regardless of beat number.
• The luz 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.
• The tekug rhythm is a single line with eight beats. The beats are named barulo (spoken ba), odo (od), sangob (sa), obungasnu (ob), strob (stro), kestraruga (ke), dot (do) and obst (obst). The beat is stressed as follows:
• | x x - X x x - - |
• where X marks an accented beat, x is a beat, - is silent and | indicates a bar.

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