The Pregnancy of Blossoming

The Pregnancy of Blossoming is a form of music used to commemorate important events originating in The Lantern of Nails. The rules of the form are applied by composers to produce individual pieces of music which can be performed. The music is played on one to three eshon. The melody has short phrases throughout the form. It is performed using the bemong scale. Throughout, when possible, composers and performers are to alternate tension and repose.

• Each eshon always does the main melody and should be delicate.
• The Pregnancy of Blossoming has a well-defined multi-passage structure: an introduction, a lengthy passage and an additional passage and a brief coda.
• The introduction slows and broadens, and it is to be moderately soft. Each of the eshon covers its entire range from the raspy low register to the fragile high register. This passage features only melodic tones and intervals. The passage is performed in free rhythm. The passage should be composed and performed using staccato.
• The first simple passage is at a free tempo, and it is to be moderately loud. Each of the eshon stays in the fragile high register. This passage typically has some sparse chords. The passage is performed in the dolush rhythm. The passage should be composed and performed using staccato.
• The second simple passage is extremely fast, and it is to start loud then be immediately soft. Each of the eshon stays in the raspy low register. This passage typically has some sparse chords. The passage is performed in the uvel rhythm.
• The coda becomes frenzied as it proceeds. Each of the eshon stays in the fragile high register. This passage features only melodic tones and intervals. The passage is performed in the ngarak rhythm.
• Scales are constructed from twenty-four notes spaced evenly throughout the octave. The tonic note is a fixed tone passed from teacher to student. After a scale is constructed, the root note of chords are named. The names are feb (spoken fe) and berim (be).
• The bemong hexatonic scale is thought of as two disjoint chords spanning two perfect fourths. These chords are named nicol and mabdug.
• The nicol trichord is the 1st, the 3rd and the 11th degrees of the quartertone octave scale.
• The mabdug tetrachord is the 15th, the 18th, the 22nd and the 25th (completing the octave) degrees of the quartertone octave scale.
• The dolush rhythm is made from two patterns: the roder (considered the primary) and the nel.
• The roder rhythm is a single line with thirty-two beats divided into four bars in a 8-8-8-8 pattern. The beat is stressed as follows:
• | x x - x - x X - | x X x x - x - - | x x - X - x - - | - X x x - - x - |
• where X marks an accented beat, x is a beat, - is silent and | indicates a bar.
• The nel rhythm is a single line with thirty-two beats divided into four bars in a 8-8-8-8 pattern. The beats are named biban (spoken bi), ugog (ug), ish (ish), robek (ro), olmul (ol), nokzam (no), emuth (em) and fer (fe). The beat is stressed as follows:
• | - x - - x x - X | x X x - - x - - | x x - X x - x x | X x - - x x x x |
• where X marks an accented beat, x is a beat, - is silent and | indicates a bar.
• The uvel rhythm is a single line with thirty-two beats divided into six bars in a 3-4-8-5-6-6 pattern. The beat is stressed as follows:
• | x - x | X - x x | x - X x x - - - | - x x - - | - x - x - - | x - - - - - |
• where X marks an accented beat, x is a beat, - is silent and | indicates a bar.
• The ngarak rhythm is made from two patterns: the ermis (considered the primary) and the roder. The patterns are to be played over the same period of time, concluding together regardless of beat number.
• The ermis 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 |
• where x is a beat, - is silent and | indicates a bar.

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