The Cyme of Fruit
The Cyme of Fruit is a form of music used during marches and military engagements originally devised by the mer Izocithamo Warlikebanded-Knifefishes. The form guides musicians during improvised performances. The music is played on three izocithe and a eslefa. The musical voices bring melody and counterpoint. The entire performance is to be soft. The melody and counterpoint both have short phrases throughout the form. The music repeats for as long as necessary. It is performed in the ebalo rhythm.
- Each izocithe always does the main melody.
- The eslefa always does the counterpoint melody.
- The Cyme of Fruit has the following structure: a brief theme and one to two series of variations on the theme possibly all repeated.
- The theme should feel agitated and is very fast. Each of the izocithe ranges from the wispy low register to the strident middle register and the eslefa ranges from the low register to the middle register. Chords are packed close together in dense clusters in this passage. The passage is performed using the ipila scale. The passage should be performed using mordents.
- Each of the series of variations should be jumpy and is at a hurried pace. Each of the izocithe ranges from the strident middle register to the sparkling high register and the eslefa ranges from the wavering middle register to the fluid high register. This passage features only melodic tones and intervals. Each passage is performed using the everinopefa scale.
- Scales are constructed from twenty-two notes dividing the octave. In quartertones, their spacing is roughly 1xxxxxxx-xxx-xxxxxxxxxxxO, where 1 is the tonic, O marks the octave and x marks other notes. The tonic note is fixed only at the time of performance.
- The ipila pentatonic scale is constructed by selection of degrees from the fundamental scale. The degrees selected are the 1st, the 5th, the 10th, the 17th and the 21st.
- The everinopefa pentatonic scale is constructed by selection of degrees from the fundamental scale. The degrees selected are the 1st, the 6th, the 13th, the 16th and the 22nd.
- The ebalo rhythm is made from two patterns: the umamalu (considered the primary) and the ithi. The patterns are to be played in the same beat, allowing one to repeat before the other is concluded.
- The umamalu rhythm is a single line with four beats. The beat is stressed as follows:
- | x'- X x |
- where X marks an accented beat, ' marks a beat as late, x is a beat, - is silent and | indicates a bar.
- The ithi rhythm is a single line with twenty-nine beats divided into three bars in a 13-8-8 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 X marks an accented beat, ` marks a beat as early, ' marks a beat as late, x is a beat, - is silent and | indicates a bar.
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