The Ripe Custard-Apples

The Ripe Custard-apples is a form of music used for entertainment originating in The Glamorous Asparagus. The form guides musicians during improvised performances. The music is played on a acera, a upeve and a vameri. The musical voices cover melody, harmony and rhythm. The entire performance becomes frenzied as it proceeds. The melody has mid-length phrases throughout the form. Pitches are densely packed in clusters as music moves from chord to chord. It is performed using the everinopefa scale and in free rhythm. Throughout, when possible, performers are to add fills.

• The acera always provides the rhythm.
• The upeve always does the main melody.
• The vameri always does harmony.
• The Ripe Custard-apples has a well-defined multi-passage structure: an introduction, a first theme, a lengthy exposition of the first theme, a lengthy bridge-passage, a second theme, a lengthy exposition of the second theme, a bridge-passage, a synthesis of previous passages, a bridge-passage and a lengthy finale.
• The introduction should be vigorous. The upeve covers its entire range from the muddy low register to the floating high register and the acera stays in the slicing middle register. The passage should be performed using trills and arpeggios.
• The first theme should feel agitated. The upeve covers its entire range from the muddy low register to the floating high register and the acera stays in the dark low register. The passage should be performed using frequent modulation.
• The first exposition should bring a sense of motion. The upeve ranges from the muddy middle register to the floating high register and the acera stays in the slicing middle register. The passage should be performed using trills.
• The first bridge-passage should be bright. The upeve stays in the muddy middle register and the acera ranges from the slicing middle register to the wispy high register. The passage should be performed using arpeggios.
• The second theme should be melancholic. The upeve covers its entire range from the muddy low register to the floating high register and the acera covers its entire range from the dark low register to the wispy high register. The passage should be performed using arpeggios.
• The second exposition should be made with skill. The upeve stays in the muddy low register and the acera covers its entire range from the dark low register to the wispy high register. The passage should be performed using frequent modulation.
• The second bridge-passage should be made with skill. The upeve ranges from the muddy middle register to the floating high register and the acera covers its entire range from the dark low register to the wispy high register. The passage should be performed using trills, frequent modulation and arpeggios.
• The synthesis should feel mysterious. The upeve ranges from the low register to the middle register and the acera stays in the slicing middle register. The passage should be performed using trills.
• The third bridge-passage should be jumpy. The upeve ranges from the low register to the middle register and the acera ranges from the slicing middle register to the wispy high register. The passage should be performed using arpeggios.
• The finale should be delicate. The upeve ranges from the low register to the middle register and the acera ranges from the dark low register to the slicing middle register.
• 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 everinopefa pentatonic scale is thought of as two disjoint chords spanning a tritone and a perfect fourth. These chords are named izela and ifiyo.
• The izela trichord is the 1st, the 6th and the 13th degrees of the quartertone octave scale.
• The ifiyo trichord is the 15th, the 23rd and the 25th (completing the octave) degrees of the quartertone octave scale.

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