The Persimmon of Berries

The Persimmon of Berries is a devotional form of music originating in The President of Sanctifying. The rules of the form are applied by composers to produce individual pieces of music which can be performed. The music is played on a pikoq, a doxob and a dig. The musical voices bring melody, counterpoint and rhythm. The counterpoint melody has short phrases throughout the form. It is performed using the kotoq scale and in the qada rhythm.

• The pikoq always should perform sweetly.
• The doxob always should be melancholic.
• The dig always should be melancholic.
• The Persimmon of Berries has a well-defined multi-passage structure: an introduction and a passage and another one to two passages.
• The introduction is voiced by the melody of the pikoq, the melody of the dig and the rhythm of the doxob. The passage is at a hurried pace, and it is to start loud then be immediately soft. The pikoq covers its entire range from the fragile low register to the reedy high register, the dig ranges from the crisp middle register to the dull high register and the doxob covers its entire range from the dull low register to the heavy high register. The passage has mid-length phrases in the melody. Chords are packed close together in dense clusters in this passage.
• The first simple passage is voiced by the melody of the doxob, the counterpoint of the pikoq and the rhythm of the dig. The passage moves more quickly than the last passage, and it is to start loud then be immediately soft. The doxob stays in the heavy high register, the pikoq ranges from the fragile low register to the raspy middle register and the dig is confined to the dull high register. The passage has long phrases in the melody. This passage typically has some sparse chords.
• Each of the second simple passages is voiced by the melody of the pikoq, the counterpoint of the doxob and the rhythm of the dig. Each passage resumes the original tempo, and it is to become louder and louder. The pikoq stays in the reedy high register, the doxob ranges from the flat middle register to the heavy high register and the dig is confined to the crisp low register. Each passage has long phrases in the melody. Only one pitch is ever played at a time in this passage.
• Scales are constructed from twenty-four notes spaced evenly throughout the octave. The tonic note is fixed only at the time of performance.
• The kotoq heptatonic scale is thought of as two disjoint chords spanning two perfect fourths. These chords are named if and toki.
• The if tetrachord is the 1st, the 5th, the 7th and the 11th degrees of the quartertone octave scale.
• The toki tetrachord is the 15th, the 19th, the 21st and the 25th (completing the octave) degrees of the quartertone octave scale.
• The qada rhythm is made from two patterns: the oti and the ezok. The patterns are to be played over the same period of time, concluding together regardless of beat number.
• The oti rhythm is a single line with sixteen beats divided into eight bars in a 2-2-2-2-2-2-2-2 pattern. The beat is stressed as follows:
• | x`x`| - x'| x - | x - | x x | x - | x x | x - |
• where ` marks a beat as early, ' marks a beat as late, x is a beat, - is silent and | indicates a bar.
• The ezok rhythm is a single line with eight beats divided into four bars in a 2-2-2-2 pattern. The beats are named qapoaq (spoken qa) and akoaz (ak). The beat is stressed as follows:
• | x`- | x x | x - | x x |
• where ` marks a beat as early, x is a beat, - is silent and | indicates a bar.

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