The Offbeat Flowery Buckwheat-Grain

The Offbeat Flowery Buckwheat-grain is a form of music used to commemorate important events originating in The Fleeting-Unification of Musing. The rules of the form are applied by composers to produce individual pieces of music which can be performed. A speaker recites any composition of The Calculating Thought while the music is played on a cathik, a ortust and a awliroz. The musical voices bring melody, counterpoint and rhythm. The entire performance slows and broadens. The melody and counterpoint both have short phrases throughout the form. It is performed using the desle scale and in the duleklonit rhythm. Throughout, when possible, composers and performers are to glide from note to note, alternate tension and repose and match notes and syllables.

• The speaker always should be stately.
• The cathik always does the main melody and should be melancholic.
• The ortust always provides the rhythm and should be stately.
• The awliroz always does the counterpoint melody and should perform sweetly.
• The Offbeat Flowery Buckwheat-grain has a well-defined multi-passage structure: an introduction, a lengthy theme, an exposition of the theme, a lengthy recapitulation of the theme, a bridge-passage and a brief finale.
• The introduction is to become louder and louder. The cathik covers its entire range from the floating low register to the gentle high register. This passage is richly layered with full chords making use of the available range.
• The theme is to be very loud. The cathik covers its entire range from the floating low register to the gentle high register. Chords are packed close together in dense clusters in this passage.
• The exposition is to be in whispered undertones. The cathik stays in the floating low register. Only one pitch is ever played at a time in this passage.
• The recapitulation is to be very loud. The cathik covers its entire range from the floating low register to the gentle high register. Chords are packed close together in dense clusters in this passage.
• The bridge-passage is to start loud then be immediately soft. The cathik stays in the gentle high register. This passage typically has some sparse chords.
• The finale is to be loud. The cathik stays in the gentle high register. This passage is richly layered with full chords making use of the available range.
• Scales are constructed from twelve notes spaced evenly throughout the octave. The tonic note is a fixed tone passed from teacher to student. Preferred notes in the fundamental scale are named. The names are pumdom (spoken pu, 2nd) and dos (do, 8th).
• The desle pentatonic scale is constructed by selection of degrees from the fundamental scale. The degrees selected are the 1st, the 3rd, the 4th, the 8th and the 9th.
• The duleklonit rhythm is made from two patterns: the emsor (considered the primary) and the naccak. The patterns are to be played in the same beat, allowing one to repeat before the other is concluded.
• The emsor 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 - |
• where x is a beat, - is silent and | indicates a bar.
• The naccak rhythm is a single line with three beats. The beat is stressed as follows:
• | - x - |
• where x is a beat, - is silent and | indicates a bar.

Events