The Pomegranite of Hazelnuts

The Pomegranite of Hazelnuts is a form of music used for entertainment originating in The Polish of Choirs. The form guides musicians during improvised performances. The music is played on a vothos. The entire performance slows down and dies away as it draws to a close. The melody has short phrases throughout the form. It is performed in the egek rhythm. Throughout, when possible, performers are to use grace notes, use mordents and alternate tension and repose.

• The vothos always does the main melody, should bring a sense of motion, plays rapid runs and plays arpeggios.
• The Pomegranite of Hazelnuts has a well-defined multi-passage structure: an introduction, a first theme, an exposition of the first theme, a lengthy second theme, a brief exposition of the second theme and a synthesis of previous passages.
• Chords are packed close together in dense clusters in this passage. The introduction is performed using the tamosh scale.
• Only one pitch is ever played at a time in this passage. The first theme is performed using the toker scale.
• Chords are packed close together in dense clusters in this passage. The first exposition is performed using the anon scale.
• Only one pitch is ever played at a time in this passage. The second theme is performed using the anon scale.
• This passage typically has some sparse chords. The second exposition is performed without preference for a scale.
• Chords are packed close together in dense clusters in this passage. The synthesis is performed using the madensham scale.
• 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 tamosh heptatonic scale is thought of as two disjoint chords drawn from the fundamental division of the perfect fourth. These chords are named un and afonan.
• The un tetrachord is the 1st, the 4th, the 6th and the 8th degrees of the fundamental perfect fourth division.
• The afonan tetrachord is the 1st, the 2nd, the 3rd and the 8th degrees of the fundamental perfect fourth division.
• As always, the toker heptatonic scale is thought of as two disjoint chords drawn from the fundamental division of the perfect fourth. These chords are named vallal and mudesod.
• The vallal tetrachord is the 1st, the 4th, the 5th and the 8th degrees of the fundamental perfect fourth division.
• The mudesod tetrachord is the 1st, the 3rd, the 5th and the 8th degrees of the fundamental perfect fourth division.
• As always, the anon heptatonic scale is thought of as two disjoint chords drawn from the fundamental division of the perfect fourth. These chords are named kekorith and vazast.
• The kekorith tetrachord is the 1st, the 2nd, the 5th and the 8th degrees of the fundamental perfect fourth division.
• The vazast tetrachord is the 1st, the 2nd, the 4th and the 8th degrees of the fundamental perfect fourth division.
• As always, the madensham heptatonic scale is thought of as two disjoint chords drawn from the fundamental division of the perfect fourth. These chords are named kekorith and mudesod.
• The egek rhythm is made from three patterns: the tigir, the nebulursed and the odulimozsen. The patterns are to be played over the same period of time, concluding together regardless of beat number.
• The tigir rhythm is a single line with four beats. The beats are named erith (spoken er), binmonor (bi), gubolil (gu) and tethan (te). The beat is stressed as follows:
• | X x x x |
• where X marks an accented beat, x is a beat 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 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.

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