The Paradise-Nut of Nutshells

The Paradise-nut of Nutshells is a form of music used for entertainment originating in The Cooperation of Umbras. The rules of the form are applied by composers to produce individual pieces of music which can be performed. Three to six chanters recite nonsensical words and sounds while the music is played on two kahdap. The musical voices bring melody with harmony. The entire performance is to become louder and louder.

• Each kahdap always plays staccato.
• The Paradise-nut of Nutshells has a well-defined multi-passage structure: an introduction and one to two passages and another one to two lengthy passages possibly all repeated.
• The introduction is voiced by the melody of the chanters reciting any composition of The Intelligent Lime and the melody of the kahdap. The passage should be melancholic and is extremely fast. Each of the chanters' voices ranges from the middle register to the high register and each of the kahdap ranges from the rich middle register to the fluid top register. The passage has short phrases in the melody. Chords are packed close together in dense clusters in this passage. The passage is performed using the qahpa scale and in the akoi rhythm.
• Each of the first simple passages is voiced by the melody of the chanters reciting nonsensical words and sounds. Each passage should be made sweetly and is at a walking pace. Each of the chanters' voices stays in the middle register. Each passage has mid-length phrases in the melody. Only one pitch is ever played at a time in this passage. Each passage is performed using the toipe scale and in the op rhythm.
• Each of the second simple passages is voiced by the melody of the kahdap and the harmony of the chanters reciting The Aground Whale-shark. Each passage should be grand and is consistently slowing. Each of the kahdap ranges from the floating high register to the fluid top register and each of the chanters' voices ranges from the low register to the middle register. Each passage has short phrases in the melody. This passage features only melodic tones and intervals. Each passage is performed using the edo scale and in free rhythm.
• Scales are constructed from twelve notes spaced evenly throughout the octave. The tonic note is fixed only at the time of performance.
• The qahpa hexatonic scale is thought of as two disjoint chords spanning a tritone and a perfect fourth. These chords are named if and toki.
• The if trichord is the 1st, the 5th and the 7th degrees of the semitone octave scale.
• The toki tetrachord is the 8th, the 10th, the 12th and the 13th (completing the octave) degrees of the semitone octave scale.
• The toipe hexatonic scale is thought of as two disjoint chords spanning a tritone and a perfect fourth. These chords are named opoq and toki.
• The opoq trichord is the 1st, the 3rd and the 7th degrees of the semitone octave scale.
• The edo pentatonic scale is thought of as two disjoint chords spanning a tritone and a perfect fourth. These chords are named if and ahdid.
• The ahdid trichord is the 8th, the 9th and the 13th (completing the octave) degrees of the semitone octave scale.
• The akoi rhythm is made from two patterns: the at (considered the primary) and the oaf. The patterns are to be played over the same period of time, concluding together regardless of beat number.
• The at rhythm is a single line with three beats. The beat is stressed as follows:
• | - x x |
• where x is a beat, - is silent and | indicates a bar.
• The oaf rhythm is a single line with sixteen beats divided into four bars in a 4-4-4-4 pattern. The beat is stressed as follows:
• | ! - x x | - X x x | - - - x | - x x - |
• where ! marks the primary accent, X marks an accented beat, x is a beat, - is silent and | indicates a bar.
• The op rhythm is made from two patterns: the paciyq (considered the primary) and the at. The patterns are to be played in the same beat, allowing one to repeat before the other is concluded.
• The paciyq rhythm is a single line with eight beats divided into two bars in a 4-4 pattern. 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.

Events