The Crumbly Magpies

The Crumbly Magpies is a devotional form of music directed toward the worship of Nadke the Lifeless Predecease originating in The Impenitence of Jabbers. The form guides musicians during improvised performances. The music is played on a saspug and a buzsp. The musical voices are joined in melody. The melody has mid-length phrases throughout the form. It is performed using the tekug scale. Throughout, when possible, performers are to use mordents and alternate tension and repose.

• The saspug always does the main melody.
• The buzsp always does the main melody.
• The Crumbly Magpies has a well-defined multi-passage structure: a lengthy introduction, a first theme, a lengthy exposition of the first theme, a second theme, a lengthy exposition of the second theme, a bridge-passage and a synthesis of previous passages.
• The introduction should be jumpy and is fast, and it is to be in whispered undertones. The saspug covers its entire range from the wispy low register to the strained high register. This passage is richly layered with full chords making use of the available range. The passage is performed in the xukom rhythm.
• The first theme should be melancholic and is at a walking pace, and it is to be very loud. The saspug covers its entire range from the wispy low register to the strained high register. Only one pitch is ever played at a time in this passage. The passage is performed in the dosno rhythm.
• The first exposition should stress the rhythm and is moderately paced, and it is to be very loud. The saspug covers its entire range from the wispy low register to the strained high register. Chords are packed close together in dense clusters in this passage. The passage is performed in the umus rhythm.
• The second theme should feel mournful and is at a free tempo, and it is to become louder and louder. The saspug covers its entire range from the wispy low register to the strained high register. This passage features only melodic tones and intervals. The passage is performed in the tasnugmutkud rhythm.
• The second exposition should stress the rhythm and is moderately fast, and it is to fade into silence. The saspug stays in the wispy low register. Only one pitch is ever played at a time in this passage. The passage is performed in the luz rhythm.
• The bridge-passage should feel mysterious and is fast, and it is to start loud then be immediately soft. The saspug stays in the wispy low register. This passage is richly layered with full chords making use of the available range. The passage is performed in free rhythm.
• The synthesis should build as it proceeds and is at a walking pace, and it is to be very loud. The saspug stays in the wispy low register. This passage is richly layered with full chords making use of the available range. The passage is performed in the odsuxu rhythm.
• 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 dot (spoken do, 1st), obst (obst, 2nd), omuslone (om, 3rd), gul (gu, 7th) and xedludutoka (xe, 10th).
• The tekug hexatonic scale is thought of as two disjoint chords spanning a perfect fifth and a major third. These chords are named uturo and bagurod.
• The uturo tetrachord is the 1st, the 2nd, the 4th and the 8th degrees of the semitone octave scale.
• The bagurod trichord is the 9th, the 11th and the 13th (completing the octave) degrees of the semitone octave scale.
• The xukom rhythm is made from two patterns: the exusp (considered the primary) and the luz. The patterns are to be played over the same period of time, concluding together regardless of beat number.
• The exusp rhythm is a single line with sixteen beats divided into four bars in a 4-4-4-4 pattern. The beat is stressed as follows:
• | x x - - | - x x - | - x - - | - - x x |
• where x is a beat, - is silent and | indicates a bar.
• The luz rhythm is a single line with two beats. The beats are named orustrur (spoken or) and snas (sna). The beat is stressed as follows:
• | x - |
• where x is a beat, - is silent and | indicates a bar.
• The dosno rhythm is a single line with twenty-three beats divided into two bars in a 12-11 pattern. The beat is stressed as follows:
• | x x x 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 umus rhythm is made from two patterns: the zesnunsura (considered the primary) and the dosno. The patterns are to be played in the same beat, allowing one to repeat before the other is concluded.
• The zesnunsura rhythm is a single line with two beats. The beats are named buzsp (spoken bu) and dubtastot (du). The beat is stressed as follows:
• | x - |
• where x is a beat, - is silent and | indicates a bar.
• The tasnugmutkud rhythm is a single line with two beats. The beats are named nexo (spoken ne) and snosmraz (sno). The beat is stressed as follows:
• | x - |
• where x is a beat, - is silent and | indicates a bar.
• The odsuxu rhythm is made from two patterns: the zesnunsura and the ozu. The patterns are to be played over the same period of time, concluding together regardless of beat number.
• The ozu rhythm is a single line with thirty-two beats divided into four bars in a 8-8-8-8 pattern. The beats are named dusmorabur (spoken du), kulu (ku), doram (do), ellusmesmuk (el), langkaz (la), reraspog (re), exazgong (ex) and alazgo (al). The beat is stressed as follows:
• | x - x'x x'- x'- | - - x - x'- - x`| 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.

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