The Peduncular Seed

The Peduncular Seed is a form of music used to commemorate important events originating in The Impartial Great-White-Shark. The form guides musicians during improvised performances. A singer recites any composition of The Porous Hills. The entire performance should be graceful, and it is to be in whispered undertones. The melody has long phrases throughout the form. Only one pitch is ever played at a time. It is performed using the everinopefa scale.

• The singer always does the main melody, spreads syllables over many notes and plays legato.
• The Peduncular Seed has a well-defined multi-passage structure: an introduction and one to two passages and another one to two passages.
• The introduction is slow. The singer's voice covers its entire range. The passage is performed in the acimedewe rhythm. The passage should be performed using locally improvisation and arpeggios. The passage should often include a rising melody pattern with sharpened sixth degree as well as glides, always include a rising-falling melody pattern with sharpened sixth degree on the rise as well as trills and legato and always include a falling-rising melody pattern with flattened sixth degree on the rise and flattened fifth degree on the fall as well as glides and grace notes.
• Each of the first simple passages is fast. The singer's voice ranges from the low register to the middle register. Each passage is performed in the cowe rhythm.
• Each of the second simple passages is extremely fast. The singer's voice ranges from the middle register to the high register. Each passage is performed in free rhythm. Each passage should be performed using grace notes.
• Scales are constructed from twelve notes dividing the octave. In quartertones, their spacing is roughly 1--x-x-x-x-x-xx-x--x-x-xO, 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 everinopefa heptatonic scale is constructed by selection of degrees from the fundamental scale. The degrees selected are the 1st, the 2nd, the 3rd, the 4th, the 5th, the 6th and the 7th.
• The acimedewe rhythm is made from two patterns: the wonethu (considered the primary) and the viceva. The patterns are to be played over the same period of time, concluding together regardless of beat number.
• The wonethu rhythm is a single line with eight beats divided into two bars in a 4-4 pattern. The beats are named bolo (spoken bo), ocaquica (oc), slothepanine (slo) and feri (fe). The beat is stressed as follows:
• | - x x - | - X x x |
• where X marks an accented beat, x is a beat, - is silent and | indicates a bar.
• The viceva rhythm is a single line with four beats divided into two bars in a 2-2 pattern. The beats are named moro (spoken mo) and ebalo (eb). The beat is stressed as follows:
• | - x | x - |
• where x is a beat, - is silent and | indicates a bar.
• The cowe rhythm is made from two patterns: the izela (considered the primary) and the viceva. The patterns are to be played over the same period of time, concluding together regardless of beat number.
• The izela rhythm is a single line with seven beats. The beat is stressed as follows:
• | x - X - x x x |
• where X marks an accented beat, x is a beat, - is silent and | indicates a bar.

Events