The Guava of Picking

The Guava of Picking is a devotional form of music originating in The Liberty of Lieges. The form guides musicians during improvised performances. The music is played on a doqe. The entire performance accelerates as it proceeds, and it is to be in whispered undertones. The melody has short phrases throughout the form. Throughout, when possible, performers are to use grace notes and play staccato.

• The doqe always does the main melody and should be delicate. The voice uses its entire range from the crisp low register to the heavy high register.
• The Guava of Picking has a well-defined multi-passage structure: a chorus and a verse all repeated one to two times, a lengthy bridge-passage and a lengthy finale.
• This passage typically has some sparse chords. The chorus is performed without preference for a scale and in the fiepo rhythm.
• This passage is richly layered with full chords making use of the available range. The verse is performed using the kiqo scale and in the akoaz rhythm.
• This passage is richly layered with full chords making use of the available range. The bridge-passage is performed using the toki scale and in free rhythm.
• Only one pitch is ever played at a time in this passage. The finale is performed using the oq scale and in the qapoaq rhythm.
• 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. Every note is named. The names are piaki (spoken pia), edo (ed), dodap (do), qahpa (qa), oqua (oq), ej (ej), at (at), iadok (iad), poqin (po), oti (ot) and nuod (nuo).
• As always, the kiqo hexatonic scale is thought of as two disjoint chords drawn from the fundamental division of the perfect fourth. These chords are named iqap and kopi.
• The iqap trichord is the 1st, the 7th and the 11th degrees of the fundamental perfect fourth division.
• The kopi tetrachord is the 1st, the 5th, the 7th and the 11th degrees of the fundamental perfect fourth division.
• As always, the toki heptatonic scale is thought of as two disjoint chords drawn from the fundamental division of the perfect fourth. These chords are named opoq and uok.
• The opoq tetrachord is the 1st, the 3rd, the 7th and the 11th degrees of the fundamental perfect fourth division.
• The uok tetrachord is the 1st, the 3rd, the 5th and the 11th degrees of the fundamental perfect fourth division.
• As always, the oq hexatonic scale is thought of as two disjoint chords drawn from the fundamental division of the perfect fourth. These chords are named opoq and axod.
• The axod trichord is the 1st, the 5th and the 11th degrees of the fundamental perfect fourth division.
• The fiepo rhythm is made from two patterns: the qat and the kot. The patterns are to be played over the same period of time, concluding together regardless of beat number.
• The qat rhythm is a single line with three beats. The beat is stressed as follows:
• | x x - |
• where x is a beat, - is silent and | indicates a bar.
• The kot rhythm is a single line with seven beats. The beat is stressed as follows:
• | x X x - x x x |
• where X marks an accented beat, x is a beat, - is silent and | indicates a bar.
• The akoaz rhythm is made from two patterns: the toad and the ojip. The patterns are to be played over the same period of time, concluding together regardless of beat number.
• The toad rhythm is a single line with thirty-two beats divided into four bars in a 5-5-13-9 pattern. The beat is stressed as follows:
• | 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.
• The ojip rhythm is a single line with four beats. The beat is stressed as follows:
• | x - x - |
• where x is a beat, - is silent and | indicates a bar.
• The qapoaq rhythm is made from two patterns: the paciyq and the oaf. The patterns are to be played over the same period of time, concluding together regardless of beat number.
• The paciyq rhythm is a single line with three beats. The beat is stressed as follows:
• | X x x |
• where X marks an accented beat, x is a beat and | indicates a bar.
• The oaf rhythm is a single line with four beats. The beats are named ted (spoken te), qeqok (qe), akoi (ak) and op (op). The beat is stressed as follows:
• | - - x - |
• where x is a beat, - is silent and | indicates a bar.

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