The Nutty Lime

The Nutty Lime is a form of music used during marches and military engagements originating in The Dark-Tan Tribune. The form guides musicians during improvised performances. The music is played on a pak and a ote. The music is melody and rhythm without harmony. The entire performance is very slow. The melody has mid-length phrases throughout the form. It is performed using the kiteq scale and in the iadok rhythm. Throughout, when possible, performers are to locally improvise, alternate tension and repose and play staccato.

• The pak always should be stately.
• The ote always does the main melody and should perform with feeling.
• The Nutty Lime has the following structure: a verse and a chorus all repeated up to two times.
• The verse is voiced by the melody of the ote. The passage is to be moderately soft. The ote stays in the floating high register. This passage features only melodic tones and intervals. The passage should sometimes include a falling melody pattern with sharpened fourth degree as well as mordents, arpeggios and legato and often include a rising-falling melody pattern with grace notes and rapid runs.
• The chorus is voiced by the melody of the ote and the rhythm of the pak. The passage is to start loud then be immediately soft. The ote stays in the slicing low register. This passage typically has some sparse chords. The passage should sometimes include a falling-rising melody pattern with sharpened second degree on the fall as well as grace notes, often include a rising-falling melody pattern with glides and grace notes, sometimes include a rising melody pattern with sharpened third degree as well as legato and always include a falling melody pattern.
• Scales are constructed from twelve notes spaced evenly throughout the octave. The tonic note is fixed only at the time of performance. Preferred notes in the fundamental scale are named. The names are toki (spoken to, 1st), oq (oq, 5th) and dotip (do, 10th).
• The kiteq pentatonic scale is constructed by selection of degrees from the fundamental scale. The degrees selected are the 1st, the 3rd, the 5th, the 6th and the 11th.
• The iadok rhythm is made from two patterns: the ituq and the kiqo. The patterns are to be played over the same period of time, concluding together regardless of beat number.
• The ituq rhythm is a single line with nine beats divided into three bars in a 3-3-3 pattern. The beat is stressed as follows:
• | x x - | x x X | x - - |
• where X marks an accented beat, x is a beat, - is silent and | indicates a bar.
• The kiqo rhythm is a single line with thirty-two beats divided into four bars in a 8-8-8-8 pattern. The beat is stressed as follows:
• | - - x x - - - - | x ! x x x x - - | x - - X - - x - | - - - x X - x - |
• where ! marks the primary accent, X marks an accented beat, x is a beat, - is silent and | indicates a bar.

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