The Tressed Blossom

The Tressed Blossom is a form of music used during marches and military engagements originating in The New Pick. The form guides musicians during improvised performances. A chanter recites nonsensical words and sounds while the music is played on three gemur and a itnet. The musical voices join in melody and counterpoint, harmony and rhythm. The melody has mid-length phrases, while the counterpoint has long phrases throughout the form. It is performed using the bemong scale. Throughout, when possible, performers are to use grace notes and locally improvise. From beginning to end, when improvising, artists should often include a rising melody pattern with sharpened sixth degree as well as mordents, trills, arpeggios and legato and always include a rising-falling melody pattern with mordents.

• The chanter always should perform sweetly and is to start loud then be immediately soft.
• Each gemur always should perform expressively and is to be soft. The voice uses its entire range from the flat low register to the crisp high register.
• The itnet always does the main melody, should be merry and is to be moderately loud.
• The Tressed Blossom has the following structure: a verse and a chorus possibly all repeated.
• The verse is voiced by the melody of the itnet, the counterpoint of the gemur and the rhythm of the chanter reciting nonsensical words and sounds. The passage is moderately fast. The itnet ranges from the flat middle register to the breezy high register, each of the gemur covers its entire range from the flat low register to the crisp high register and the chanter's voice ranges from the low register to the middle register. Chords are packed close together in dense clusters in this passage. The passage is performed in the nokzam rhythm.
• The chorus is voiced by the melody of the itnet and the harmony of the chanter reciting The Whip of Scalding. The passage is fast. The itnet stays in the resonant low register and the chanter's voice ranges from the middle register to the high register. This passage typically has some sparse chords. The passage is performed in the osed rhythm.
• Scales are constructed from twenty-four notes spaced evenly throughout the octave. The tonic note is fixed only at the time of performance.
• The bemong heptatonic scale is thought of as two disjoint chords spanning a perfect fifth and a major third. These chords are named thoth and libash.
• The thoth pentachord is the 1st, the 4th, the 7th, the 11th and the 15th degrees of the quartertone octave scale.
• The libash trichord is the 17th, the 22nd and the 25th (completing the octave) degrees of the quartertone octave scale.
• The nokzam rhythm is a single line with sixteen beats divided into eight bars in a 2-2-2-2-2-2-2-2 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.
• The osed rhythm is made from two patterns: the uvel (considered the primary) and the fer. The patterns are to be played over the same period of time, concluding together regardless of beat number.
• The uvel rhythm is a single line with sixteen beats divided into eight bars in a 2-2-2-2-2-2-2-2 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.
• The fer rhythm is a single line with three beats. The beat is stressed as follows:
• | - - x |
• where x is a beat, - is silent and | indicates a bar.

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