The Melody of Fir-Cones

The Melody of Fir-cones is a form of music used during marches and military engagements originating in The Ceaseless Fingertip-Dominator. 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 Saltwater-Crocodiles of Floating while the music is played on a oxuri and a asnod. The musical voices bring melody with harmony. The entire performance is to be loud. The melody has long phrases throughout the form. It is performed using the vuthrilsim scale. Throughout, when possible, composers and performers are to alternate tension and repose.

• Each singer always does the main melody and should be lively.
• The oxuri always does the main melody and should perform with skill.
• The asnod always does harmony and should feel agitated.
• The Melody of Fir-cones has the following structure: a verse and a chorus all repeated two times.
• The verse is at a hurried pace. Each of the singers' voices ranges from the middle register to the high register, the oxuri ranges from the raucous high register to the wispy top register and the asnod stays in the fluid high register. Only one pitch is ever played at a time in this passage. The passage is performed in the vope rhythm. The passage should be composed and performed using frequent modulation.
• The chorus accelerates as it proceeds. Each of the singers' voices covers its entire range, the oxuri ranges from the rippling middle register to the raucous high register and the asnod covers its entire range from the slicing low register to the fluid high register. This passage is richly layered with full chords making use of the available range. The passage is performed in the duleklonit rhythm.
• Scales are constructed from twelve notes spaced evenly throughout the octave. The tonic note is fixed only at the time of performance.
• The vuthrilsim hexatonic scale is thought of as two disjoint chords spanning a perfect fifth and a major third. These chords are named othdo and ithut.
• The othdo tetrachord is the 1st, the 3rd, the 4th and the 8th degrees of the semitone octave scale.
• The ithut trichord is the 9th, the 10th and the 13th (completing the octave) degrees of the semitone octave scale.
• The vope rhythm is made from two patterns: the dos and the imesathi.
• The dos rhythm is a single line with two beats. The beat is stressed as follows:
• | x - |
• where x is a beat, - is silent and | indicates a bar.
• The imesathi rhythm is a single line with two beats. The beats are named iwarolera (spoken iw) and oquil (oq). The beat is stressed as follows:
• | x - |
• where x is a beat, - is silent and | indicates a bar.
• The duleklonit rhythm is made from two patterns: the dos and the xur. The patterns are to be played over the same period of time, concluding together regardless of beat number.
• The xur rhythm is a single line with four beats. The beats are named ibbekur (spoken ib), ocgothrom (oc), ingdaspod (ing) and gad (ga). The beat is stressed as follows:
• | - x - - |
• where x is a beat, - is silent and | indicates a bar.

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