The Blooming Bayberry

The Blooming Bayberry is a form of music used during marches and military engagements originating in The Indispensable Tubes. The rules of the form are applied by composers to produce individual pieces of music which can be performed. The music is played on a cesmengtul and a kasistek. The musical voices join in melody, counterpoint and harmony. The entire performance is extremely fast. The melody has mid-length phrases, while the counterpoint has short phrases throughout the form. Throughout, when possible, composers and performers are to use mordents and modulate frequently.

• The Blooming Bayberry has a well-defined multi-passage structure: a passage, a bridge-passage and a finale.
• The simple passage is voiced by the melody of the kasistek and the harmony of the cesmengtul. The passage should be delicate, and it is to be soft. The cesmengtul stays in the muddy high register. This passage typically has some sparse chords. The passage is performed using the anon scale and in the sek rhythm.
• The bridge-passage is voiced by the melody of the cesmengtul and the counterpoint of the kasistek. The passage should feel playful, and it is to be loud. The cesmengtul covers its entire range from the wispy low register to the muddy high register. Only one pitch is ever played at a time in this passage. The passage is performed using the toker scale and in the rekom rhythm.
• The finale is voiced by the melody of the cesmengtul and the harmony of the kasistek. The passage should be joyful, and it is to be soft. The cesmengtul covers its entire range from the wispy low register to the muddy high register. This passage is richly layered with full chords making use of the available range. The passage is performed using the mudesod scale and in free rhythm.
• Scales are conceived of as two chords built using a division of the perfect fourth interval into eight notes. The tonic note is a fixed tone passed from teacher to student.
• As always, the anon heptatonic scale is thought of as two disjoint chords drawn from the fundamental division of the perfect fourth. These chords are named vallal and vazast.
• The vallal tetrachord is the 1st, the 2nd, the 7th and the 8th degrees of the fundamental perfect fourth division.
• The vazast tetrachord is the 1st, the 4th, the 5th and the 8th degrees of the fundamental perfect fourth division.
• As always, the toker hexatonic scale is thought of as two disjoint chords drawn from the fundamental division of the perfect fourth. These chords are named kekorith and afonan.
• The kekorith tetrachord is the 1st, the 2nd, the 5th and the 8th degrees of the fundamental perfect fourth division.
• The afonan trichord is the 1st, the 5th and the 8th degrees of the fundamental perfect fourth division.
• As always, the mudesod hexatonic scale is thought of as two disjoint chords drawn from the fundamental division of the perfect fourth. These chords are named vallal and stat.
• The stat trichord is the 1st, the 2nd and the 8th degrees of the fundamental perfect fourth division.
• The sek rhythm is a single line with eight beats divided into four bars in a 2-2-2-2 pattern. The beats are named ibmas (spoken ib) and ster (ste). The beat is stressed as follows:
• | 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 rekom 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 ozisash (spoken oz) and tamosh (ta). The beat is stressed as follows:
• | x x`| - x | x - | x - | x - | x - | - x | - x |
• where ` marks a beat as early, x is a beat, - is silent and | indicates a bar.

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