The Hermaphrodite of Weasel-People

The Hermaphrodite of Weasel-people is a devotional form of music directed toward the worship of Agas Cherry-opalnavel originating in The Judgemental Confederation. The form guides musicians during improvised performances. The music is played on a apris. The entire performance should be spirited and is very fast. The melody has short phrases throughout the form. It is performed using the furithali scale. Throughout, when possible, performers are to use grace notes, play rapid runs and alternate tension and repose.

• The apris always does the main melody.
• The Hermaphrodite of Weasel-people has a well-defined multi-passage structure: a first theme, an exposition of the first theme, a brief bridge-passage, a second theme, an exposition of the second theme and a brief synthesis of previous passages.
• The first theme is to be moderately soft. The apris ranges from the rich low register to the floating middle register. This passage is richly layered with full chords making use of the available range. The passage is performed in free rhythm.
• The first exposition is to be moderately loud. The apris stays in the sonorous high register. This passage typically has some sparse chords. The passage is performed in the ocgothrom rhythm.
• The bridge-passage is to be in whispered undertones. The apris covers its entire range from the rich low register to the sonorous high register. This passage typically has some sparse chords. The passage is performed in the ujel rhythm.
• The second theme is to fade into silence. The apris stays in the floating middle register. Chords are packed close together in dense clusters in this passage. The passage is performed in the bushcirne rhythm.
• The second exposition is to fade into silence. The apris ranges from the floating middle register to the sonorous high register. Only one pitch is ever played at a time in this passage. The passage is performed in the imesathi rhythm.
• The synthesis is to start loud then be immediately soft. The apris ranges from the floating middle register to the sonorous high register. This passage typically has some sparse chords. The passage is performed in the anar rhythm.
• Scales are conceived of as two chords built using a division of the perfect fourth interval into eleven notes. The tonic note is fixed only at the time of performance. Preferred notes in the fundamental scale are named. The names are vuthrilsim (spoken vu, 2nd), desle (de, 4th) and pethrebinpu (pe, 11th).
• As always, the furithali hexatonic scale is thought of as two disjoint chords drawn from the fundamental division of the perfect fourth. These chords are named ohural and othdo.
• The ohural tetrachord is the 1st, the 4th, the 6th and the 11th degrees of the fundamental perfect fourth division.
• The othdo trichord is the 1st, the 5th and the 11th degrees of the fundamental perfect fourth division.
• The ocgothrom rhythm is made from two patterns: the emsor (considered the primary) and the ujel. The patterns are to be played over the same period of time, concluding together regardless of beat number.
• The emsor rhythm is a single line with twelve beats divided into two bars in a 6-6 pattern. The beats are named naccak (spoken na), vishages (vi), kungujith (ku), udal (ud), xur (xu) and ibbekur (ib). The beat is stressed as follows:
• | x - - - x - | - - x x x - |
• where x is a beat, - is silent and | indicates a bar.
• The ujel rhythm is a single line with sixteen beats divided into two bars in a 8-8 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 bushcirne rhythm is a single line with twenty-three beats divided into two bars in a 7-16 pattern. The beat is stressed as follows:
• | x`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 imesathi rhythm is made from two patterns: the ujel and the ofing.
• The ofing 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 |
• where ' marks a beat as late, x is a beat, - is silent and | indicates a bar.
• The anar rhythm is made from two patterns: the emsor (considered the primary) and the bushcirne. The patterns are to be played in the same beat, allowing one to repeat before the other is concluded.

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