The Melodic Bananas

The Melodic Bananas is a form of music used to commemorate important events originating in The Polish of Choirs. The form guides musicians during improvised performances. The music is played on a niral and a cesal. The music is melody and rhythm without harmony. The entire performance should stress the rhythm and is at a walking pace. The melody has short phrases throughout the form. It is performed using the imkekir scale and in the aros rhythm. Throughout, when possible, performers are to use grace notes, add fills and alternate tension and repose.

• The niral always does the main melody.
• The Melodic Bananas has a well-defined multi-passage structure: an introduction, a lengthy first theme, an exposition of the first theme, a lengthy bridge-passage, a second theme, an exposition of the second theme and a synthesis of previous passages.
• The introduction is voiced by the melody of the niral and the rhythm of the cesal. The passage is to become softer and softer. The niral covers its entire range from the sonorous low register to the even top register. This passage features only melodic tones and intervals.
• The first theme is voiced by the melody of the niral. The passage is to be moderately soft. The niral is confined to the even high register. Only one pitch is ever played at a time in this passage. The passage should be performed using legato.
• The first exposition is voiced by the melody of the niral and the rhythm of the cesal. The passage is to fade into silence. The niral covers its entire range from the sonorous low register to the even top register. Only one pitch is ever played at a time in this passage. The passage should be performed using legato.
• The bridge-passage is voiced by the melody of the niral. The passage is to be very soft. The niral ranges from the sonorous low register to the even high register. Only one pitch is ever played at a time in this passage.
• The second theme is voiced by the melody of the niral. The passage is to become softer and softer. The niral ranges from the gentle middle register to the even high register. Only one pitch is ever played at a time in this passage.
• The second exposition is voiced by the melody of the niral. The passage is to become softer and softer. The niral ranges from the gentle middle register to the even top register. Only one pitch is ever played at a time in this passage. The passage should be performed using legato.
• The synthesis is voiced by the melody of the niral. The passage is to be moderately soft. The niral is confined to the sonorous low register. Only one pitch is ever played at a time in this passage.
• Scales are conceived of as two chords built using a division of the perfect fourth interval into eight notes. The tonic note is fixed only at the time of performance.
• As always, the imkekir hexatonic scale is thought of as two disjoint chords drawn from the fundamental division of the perfect fourth. These chords are named kekorith and stat.
• The kekorith tetrachord is the 1st, the 2nd, the 5th and the 8th degrees of the fundamental perfect fourth division.
• The stat trichord is the 1st, the 3rd and the 8th degrees of the fundamental perfect fourth division.
• The aros rhythm is made from three patterns: the odulimozsen, the nebulursed and the rilgush. The patterns are to be played over the same period of time, concluding together regardless of beat number.
• The odulimozsen 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 nebulursed rhythm is a single line with seven beats. The beats are named rokul (spoken ro), elomamar (el), sek (se), ibmas (ib), ster (ste), ozlomig (oz) and comthad (co). The beat is stressed as follows:
• | - - - x - x - |
• where x is a beat, - is silent and | indicates a bar.
• The rilgush 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.

Events