The Flowery Passion-Fruit

The Flowery Passion-fruit is a form of music used during marches and military engagements originating in The Civilian Nettles. The form guides musicians during improvised performances. The music is played on a ibeca, one to five aritheyini and a izolideca. The musical voices join in melody and counterpoint, harmony and rhythm. The melody and counterpoint both have short phrases throughout the form. It is performed using the everinopefa scale.

• The ibeca always does the main melody.
• Each aritheyini always modulates frequently.
• The Flowery Passion-fruit has a well-defined multi-passage structure: a theme, a bridge-passage and a series of variations on the theme and a brief coda.
• The theme is voiced by the melody of the ibeca, the counterpoint of the izolideca and the harmony of the aritheyini. The passage should feel mournful and gradually slows as it comes to an end, and it is to be in whispered undertones. The ibeca stays in the slicing high register, the izolideca ranges from the strident middle register to the nasal top register and each of the aritheyini stays in the strained high register. Only one pitch is ever played at a time in this passage. The passage is performed in the ocaquica rhythm.
• The bridge-passage is voiced by the melody of the ibeca, the melody of the aritheyini and the rhythm of the izolideca. The passage should feel mournful and is slow, and it is to be in whispered undertones. The ibeca stays in the slicing high register, each of the aritheyini stays in the slicing low register and the izolideca ranges from the strident middle register to the nasal top register. This passage is richly layered with full chords making use of the available range. The passage is performed in the wori rhythm.
• The series of variations is voiced by the melody of the ibeca and the harmony of the aritheyini. The passage should be fiery and is moderately fast, and it is to be moderately soft. The ibeca covers its entire range from the ringing low register to the slicing high register and each of the aritheyini stays in the slicing low register. Only one pitch is ever played at a time in this passage. The passage is performed in the uwame rhythm.
• The coda is voiced by the melody of the ibeca and the melody of the izolideca. The passage should evoke tears and is at a free tempo, and it is to be in whispered undertones. The ibeca covers its entire range from the ringing low register to the slicing high register and the izolideca ranges from the strident middle register to the fragile high register. This passage is richly layered with full chords making use of the available range. The passage is performed in the tafalofi rhythm.
• Scales are constructed from twenty-four notes spaced evenly throughout the octave. The tonic note is a fixed tone passed from teacher to student.
• The everinopefa heptatonic scale is thought of as two disjoint chords spanning two perfect fourths. These chords are named oyifolewe and ifiyo.
• The oyifolewe tetrachord is the 1st, the 2nd, the 9th and the 11th degrees of the quartertone octave scale.
• The ifiyo tetrachord is the 15th, the 23rd, the 24th and the 25th (completing the octave) degrees of the quartertone octave scale.
• The ocaquica rhythm is a single line with sixteen beats divided into eight bars in a 2-2-2-2-2-2-2-2 pattern. The beats are named slothepanine (spoken slo) and feri (fe). The beat is stressed as follows:
• | - x | x x | x 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 wori rhythm is made from two patterns: the omarime (considered the primary) and the ocaquica. The patterns are to be played over the same period of time, concluding together regardless of beat number.
• The omarime rhythm is a single line with thirty-two beats divided into six bars in a 6-4-5-3-5-9 pattern. 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 - |
• where ' marks a beat as late, x is a beat, - is silent and | indicates a bar.
• The uwame rhythm is a single line with sixteen beats divided into four bars in a 4-4-4-4 pattern. The beats are named cucecuse (spoken cu), cowe (co), fi (fi) and acimedewe (ac). The beat is stressed as follows:
• | - - - x | x x - - | - - x x'| - - x - |
• where ' marks a beat as late, x is a beat, - is silent and | indicates a bar.
• The tafalofi rhythm is a single line with thirty-two beats divided into six bars in a 5-6-5-5-6-5 pattern. 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 late, x is a beat, - is silent and | indicates a bar.

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