The Jute-Leaf of Breasts

The Jute-leaf of Breasts is a devotional form of music directed toward the worship of Odina Spleenlavas originating in The Glamorous Asparagus. The rules of the form are applied by composers to produce individual pieces of music which can be performed. Two singers recite any composition of The Predecease of Driftwoods. The entire performance accelerates as it proceeds, and it is to be very soft. The melody has phrases of varied length throughout the form. Only one pitch is ever played at a time. It is performed in the pararadele rhythm. Throughout, when possible, composers and performers are to alternate tension and repose.

• Each singer always does the main melody, should feel mournful and glides from note to note.
• The Jute-leaf of Breasts has a well-defined multi-passage structure: an introduction and a theme and a series of variations on the theme.
• In the introduction, each of the singers' voices stays in the high register. The passage is performed using the cowe scale.
• In the theme, each of the singers' voices ranges from the middle register to the high register. The passage is performed using the feri scale.
• In the series of variations, each of the singers' voices ranges from the low register to the middle register. The passage is performed using the cucecuse scale.
• Scales are constructed from twenty-four notes spaced evenly throughout the octave. The tonic note is a fixed tone passed from teacher to student.
• The cowe heptatonic scale is thought of as joined chords spanning a perfect fifth and a perfect fourth. These chords are named wonethu and umamalu.
• The wonethu pentachord is the 1st, the 4th, the 7th, the 9th and the 15th degrees of the quartertone octave scale.
• The umamalu tetrachord is the 15th, the 19th, the 21st and the 25th (completing the octave) degrees of the quartertone octave scale.
• The feri pentatonic scale is thought of as joined chords spanning a perfect fifth and a perfect fourth. These chords are named ebalo and izeli.
• The ebalo trichord is the 1st, the 3rd and the 15th degrees of the quartertone octave scale.
• The izeli tetrachord is the 15th, the 19th, the 20th and the 25th (completing the octave) degrees of the quartertone octave scale.
• The cucecuse scale is thought of as joined chords spanning a perfect fifth and a perfect fourth. These chords are named moro and emayethi.
• The moro trichord is the 1st, the 2nd and the 15th degrees of the quartertone octave scale.
• The emayethi trichord is the 15th, the 17th and the 25th (completing the octave) degrees of the quartertone octave scale.
• The pararadele rhythm is made from two patterns: the oyathu and the the. The patterns are to be played over the same period of time, concluding together regardless of beat number.
• The oyathu rhythm is a single line with thirty-two beats divided into four bars in a 8-8-8-8 pattern. The beats are named slutha (spoken slu), yalona (ya), fewiyo (fe), equatino (eq), idara (id), afene (af), ominede (om) and irera (ir). The beat is stressed as follows:
• | - x - - - - x - | - - - - x - - - | - - x - - - X x | x - x x x - - X |
• where X marks an accented beat, x is a beat, - is silent and | indicates a bar.
• The the rhythm is a single line with three beats. The beat is stressed as follows:
• | x x X |
• where X marks an accented beat, x is a beat and | indicates a bar.

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