The Compositional Sun-Berry-Plants

The Compositional Sun-berry-plants is a form of music used for entertainment originating in The Soybean-Plant of Lobsters. The rules of the form are applied by composers to produce individual pieces of music which can be performed. A singer recites any composition of The Vulture of Widowing. The melody has long phrases throughout the form. Only one pitch is ever played at a time. It is performed using the ucame scale. Throughout, when possible, composers and performers are to alternate tension and repose.

• The singer always does the main melody and should feel mysterious.
• The Compositional Sun-berry-plants has a well-defined multi-passage structure: an introduction, a theme, a bridge-passage and a series of variations on the theme and a lengthy coda.
• The introduction is fast, and it is to start loud then be immediately soft. The singer's voice ranges from the middle register to the high register. The passage is performed in the moro rhythm.
• The theme is slower than the last passage, and it is to be moderately loud. The singer's voice covers its entire range. The passage is performed in the feri rhythm.
• The bridge-passage resumes the original tempo, and it is to be soft. The singer's voice covers its entire range. The passage is performed in the viceva rhythm.
• The series of variations is fast, and it is to fade into silence. The singer's voice stays in the middle register. The passage is performed in the ebecari rhythm.
• The coda is fast, and it is to be loud. The singer's voice stays in the low register. The passage is performed in the cowe rhythm.
• Scales are constructed from twenty-three notes dividing the octave. In quartertones, their spacing is roughly 1xxxxx-xxxxxxxxxxxxxxxxxO, 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. Preferred notes in the fundamental scale are named. The names are ifiyo (spoken if, 4th), izeli (iz, 9th), bone (bo, 10th), umamalu (um, 12th), emayethi (em, 14th), ithi (ith, 15th), seyawi (se, 18th), mila (mi, 20th) and ezococa (ez, 23rd).
• The ucame pentatonic scale is constructed by selection of degrees from the fundamental scale. The degrees selected are the 1st, the 7th, the 9th, the 14th and the 21st.
• The moro rhythm is a single line with three beats. The beats are named ebalo (spoken eb), wonethu (wo) and bolo (bo). The beat is stressed as follows:
• | x x x |
• where x is a beat and | indicates a bar.
• The feri rhythm is made from three patterns: the moro, the ebecari and the slothepanine. The patterns are to be played over the same period of time, concluding together regardless of beat number.
• The ebecari rhythm is a single line with two beats. The beat is stressed as follows:
• | x x |
• where x is a beat and | indicates a bar.
• The slothepanine rhythm is a single line with twenty-three beats divided into two bars in a 15-8 pattern. The beat is stressed as follows:
• | x - x - x x - x x - - x - - x | - - - x - x x - |
• where x is a beat, - is silent and | indicates a bar.
• The viceva rhythm is a single line with four beats. The beat is stressed as follows:
• | - - - x |
• where x is a beat, - is silent and | indicates a bar.
• The cowe rhythm is made from two patterns: the moro (considered the primary) and the ocaquica. The patterns are to be played in the same beat, allowing one to repeat before the other is concluded.
• The ocaquica rhythm is a single line with twenty-seven beats divided into five bars in a 5-7-8-5-2 pattern. The beat is stressed as follows:
• | x - - - x | - x x x x - - | - x - - x - - - | x - x - - | - x |
• where x is a beat, - is silent and | indicates a bar.

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