The Orange of Einkorn-Grains

The Orange of Einkorn-grains is a form of music used to commemorate important events originating in The Banded Funnel. The form guides musicians during improvised performances. The music is played on three duktozevil, a engum and a ivoddoth. The music is melody and rhythm without harmony. The entire performance should be made sweetly and slows and broadens. The melody has phrases of varied length throughout the form. Throughout, when possible, performers are to play staccato.

• Each duktozevil always does the main melody.
• The engum always provides the rhythm.
• The ivoddoth always provides the rhythm.
• The Orange of Einkorn-grains has a well-defined multi-passage structure: a lengthy theme, an exposition of the theme and a recapitulation of the theme.
• The theme is to be moderately soft. Each of the duktozevil ranges from the strident high register to the muddy top register. Chords are packed close together in dense clusters in this passage. The passage is performed using the mudesod scale and in the gubolil rhythm.
• The exposition is to start loud then be immediately soft. Each of the duktozevil is confined to the strident high register. This passage typically has some sparse chords. The passage is performed using the madensham scale and in free rhythm.
• The recapitulation is to be very loud. Each of the duktozevil ranges from the strident high register to the muddy top register. This passage typically has some sparse chords. The passage is performed using the vazast scale and in the tethan rhythm.
• Scales are constructed from twelve notes spaced evenly throughout the octave. The tonic note is a fixed tone passed from teacher to student. Every note is named. The names are tamosh (spoken ta), muzlom (mu), ozol (oz), mer (me), zulal (zu), kistek (ki), lesul (le), sak (sa), odulimozsen (od), nebulursed (ne), rokul (ro) and elomamar (el).
• The mudesod heptatonic scale is thought of as two disjoint chords spanning a tritone and a perfect fourth. These chords are named kam and febamus.
• The kam tetrachord is the 1st, the 2nd, the 4th and the 7th degrees of the semitone octave scale.
• The febamus tetrachord is the 8th, the 9th, the 10th and the 13th (completing the octave) degrees of the semitone octave scale.
• The madensham hexatonic scale is thought of as two disjoint chords spanning a tritone and a perfect fourth. These chords are named un and afonan.
• The un trichord is the 1st, the 3rd and the 7th degrees of the semitone octave scale.
• The afonan tetrachord is the 8th, the 9th, the 12th and the 13th (completing the octave) degrees of the semitone octave scale.
• The vazast hexatonic scale is thought of as two disjoint chords spanning a tritone and a perfect fourth. These chords are named un and febamus.
• The gubolil rhythm is a single line with eight beats divided into two bars in a 4-4 pattern. The beat is stressed as follows:
• | x - - x | x - - x |
• where x is a beat, - is silent and | indicates a bar.
• The tethan rhythm is made from two patterns: the sek (considered the primary) and the ozlomig. The patterns are to be played in the same beat, allowing one to repeat before the other is concluded.
• The sek rhythm is a single line with nineteen beats divided into two bars in a 8-11 pattern. The beat is stressed as follows:
• | x x X'x x x - x | x x ! - - - - - - - - |
• where ! marks the primary accent, X marks an accented beat, ' marks a beat as late, x is a beat, - is silent and | indicates a bar.
• The ozlomig rhythm is a single line with three beats. The beats are named comthad (spoken co), tigir (ti) and erith (er). The beat is stressed as follows:
• | - x x |
• where x is a beat, - is silent and | indicates a bar.

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