The Bloom of Peduncles

The Bloom of Peduncles is a devotional form of music originating in The Tireless Megalomania. The rules of the form are applied by composers to produce individual pieces of music which can be performed. A chanter recites any composition of The Brain of Contemplating while the music is played on a tosposmun, a zongosno and a emxu. The musical voices join in melody and counterpoint, harmony and rhythm. The melody has short phrases, while the counterpoint has long phrases throughout the form. It is performed in the alazgo rhythm. Throughout, when possible, composers and performers are to syncopate and play legato.

• The Bloom of Peduncles has a well-defined multi-passage structure: an introduction and a chorus and a verse all repeated two times.
• The introduction is voiced by the melody of the zongosno, the counterpoint of the chanter and the rhythm of the emxu. The passage should be vigorous and is moderately paced, and it is to start loud then be immediately soft. The chanter's voice ranges from the low register to the middle register. This passage features only melodic tones and intervals. The passage is performed using the assna scale.
• The chorus is voiced by the melody of the zongosno, the harmony of the chanter and the rhythm of the tosposmun. The passage should be melancholic and accelerates as it proceeds, and it is to be very loud. The chanter's voice stays in the low register. This passage typically has some sparse chords. The passage is performed using the tekug scale.
• The verse is voiced by the melody of the chanter. The passage should evoke tears and is slower than the last passage, and it is to be very loud. The chanter's voice ranges from the middle register to the high register. Only one pitch is ever played at a time in this passage. The passage is performed without preference for a scale.
• Scales are conceived of as two chords built using a division of the perfect fourth interval into eleven notes. The tonic note is a fixed tone passed from teacher to student. Preferred notes in the fundamental scale are named. The names are kestraruga (spoken ke, 1st), dot (do, 6th) and obst (obst, 7th).
• As always, the assna pentatonic scale is thought of as two disjoint chords drawn from the fundamental division of the perfect fourth. These chords are named daxst and uturo.
• The daxst trichord is the 1st, the 2nd and the 11th degrees of the fundamental perfect fourth division.
• The uturo trichord is the 1st, the 7th and the 11th degrees of the fundamental perfect fourth division.
• As always, the tekug hexatonic scale is thought of as two disjoint chords drawn from the fundamental division of the perfect fourth. These chords are named daxst and masul.
• The masul tetrachord is the 1st, the 3rd, the 7th and the 11th degrees of the fundamental perfect fourth division.
• The alazgo rhythm is a single line with thirty-two beats divided into four bars in a 8-8-8-8 pattern. The beats are named zesnunsura (spoken ze), buzsp (bu), dubtastot (du), ekuragsm (ek), osmlospo (os), uranstrostru (ur), atosmosm (at) and nesu (ne). 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 the primary accent, X marks an accented beat, x is a beat, - is silent and | indicates a bar.

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