The Chant of Wholegrains

The Chant of Wholegrains is a form of music used for entertainment originally devised by the goblin Kutxosnu Crosswisebuffets. The rules of the form are applied by composers to produce individual pieces of music which can be performed. A chanter recites The Custard-Apple of Hoppers while the music is played on one to three muzo, a lemgot and a namak. The musical voices cover melody, harmony and rhythm. The entire performance slows and broadens, and it is to start loud then be immediately soft. The melody has short phrases throughout the form. It is performed in the ekuragsm rhythm. Throughout, when possible, composers and performers are to use grace notes.

• The chanter always does the main melody and should feel mysterious.
• Each muzo always provides the rhythm and should be fiery.
• The lemgot always does harmony and should evoke tears.
• The namak always provides the rhythm and should bring a sense of motion.
• The Chant of Wholegrains has a well-defined multi-passage structure: an introduction, a theme and a series of variations on the theme possibly all repeated, a bridge-passage and a brief finale.
• In the introduction, the chanter's voice stays in the middle register, the lemgot ranges from the harsh low register to the crisp middle register, each of the muzo stays in the wispy low register and the namak covers its entire range from the rich low register to the sonorous high register. This passage is richly layered with full chords making use of the available range. The passage is performed using the assna scale. The passage should be composed and performed using mordents and staccato.
• In the theme, the chanter's voice covers its entire range, the lemgot ranges from the crisp middle register to the vibrating high register, each of the muzo stays in the wispy low register and the namak covers its entire range from the rich low register to the sonorous high register. This passage features only melodic tones and intervals. The passage is performed using the xuzestra scale.
• In the series of variations, the chanter's voice ranges from the middle register to the high register, the lemgot ranges from the crisp middle register to the vibrating high register, each of the muzo stays in the wispy low register and the namak covers its entire range from the rich low register to the sonorous high register. Only one pitch is ever played at a time in this passage. The passage is performed using the gaxog scale. The passage should be composed and performed using frequent modulation and staccato.
• In the bridge-passage, the chanter's voice ranges from the low register to the middle register, the lemgot stays in the crisp middle register, each of the muzo covers its entire range from the wispy low register to the brittle high register and the namak covers its entire range from the rich low register to the sonorous high register. This passage is richly layered with full chords making use of the available range. The passage is performed using the roxstat scale.
• In the finale, the chanter's voice ranges from the middle register to the high register, the lemgot ranges from the harsh low register to the crisp middle register, each of the muzo ranges from the wispy low register to the wavering middle register and the namak stays in the sonorous high register. This passage is richly layered with full chords making use of the available range. The passage is performed using the roxstat scale. The passage should be composed and performed using mordents.
• Scales are conceived of as two chords built using a division of the perfect fourth interval into eleven notes. The tonic note is fixed only at the time of performance. Preferred notes in the fundamental scale are named. The names are tekug (spoken te, 1st) and barulo (ba, 9th).
• As always, the assna hexatonic scale is thought of as two disjoint chords drawn from the fundamental division of the perfect fourth. These chords are named nadu and masul.
• The nadu tetrachord is the 1st, the 3rd, the 5th and the 11th degrees of the fundamental perfect fourth division.
• The masul trichord is the 1st, the 5th and the 11th degrees of the fundamental perfect fourth division.
• As always, the xuzestra hexatonic scale is thought of as two disjoint chords drawn from the fundamental division of the perfect fourth. These chords are named zuxaz and masul.
• The zuxaz tetrachord is the 1st, the 3rd, the 7th and the 11th degrees of the fundamental perfect fourth division.
• As always, the gaxog hexatonic scale is thought of as two disjoint chords drawn from the fundamental division of the perfect fourth. These chords are named ragu and uturo.
• The ragu trichord is the 1st, the 7th and the 11th degrees of the fundamental perfect fourth division.
• The uturo tetrachord is the 1st, the 4th, the 9th and the 11th degrees of the fundamental perfect fourth division.
• As always, the roxstat hexatonic scale is thought of as two disjoint chords drawn from the fundamental division of the perfect fourth. These chords are named ragu and daxst.
• The daxst tetrachord is the 1st, the 2nd, the 7th and the 11th degrees of the fundamental perfect fourth division.
• The ekuragsm rhythm is made from two patterns: the obst and the snas. The patterns are to be played over the same period of time, concluding together regardless of beat number.
• The obst rhythm is a single line with four beats. The beats are named omuslone (spoken om), gul (gu), xedludutoka (xe) and dosno (do). The beat is stressed as follows:
• | - x - - |
• where x is a beat, - is silent and | indicates a bar.
• The snas rhythm is a single line with five beats. The beat is stressed as follows:
• | - x - x x |
• where x is a beat, - is silent and | indicates a bar.

Events

• In early autumn of 107, The Chant of Wholegrains was created by the goblin Kutxosnu Crosswisebuffets in Conniveaesthetic