The Wholegrain Seeds

The Wholegrain Seeds is a form of music used during marches and military engagements originating in The Liberty of Lieges. The rules of the form are applied by composers to produce individual pieces of music which can be performed. A speaker recites any composition of The Insightful Clinic while the music is played on three odi. The musical voices are joined in melody. The entire performance should be broad and becomes calmer as the end is approached. The melody has short phrases throughout the form. It is performed using the kotoq scale and in the jed rhythm. Throughout, when possible, composers and performers are to alternate tension and repose and match notes and syllables.

• Each odi always does the main melody and plays arpeggios.
• The Wholegrain Seeds has a well-defined multi-passage structure: an introduction, a theme, a brief bridge-passage and one to two series of variations on the theme possibly all repeated, a bridge-passage and a finale.
• In the introduction, each of the odi covers its entire range from the fragile low register to the raspy high register. Only one pitch is ever played at a time in this passage.
• In the theme, each of the odi covers its entire range from the fragile low register to the raspy high register. Chords are packed close together in dense clusters in this passage.
• In the first bridge-passage, each of the odi covers its entire range from the fragile low register to the raspy high register. Chords are packed close together in dense clusters in this passage.
• In each of the series of variations, each of the odi covers its entire range from the fragile low register to the raspy high register. This passage typically has some sparse chords.
• In the second bridge-passage, each of the odi stays in the fragile low register. Chords are packed close together in dense clusters in this passage.
• In the finale, each of the odi stays in the raspy high register. Chords are packed close together in dense clusters in this passage.
• 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 kotoq hexatonic scale is thought of as two disjoint chords drawn from the fundamental division of the perfect fourth. These chords are named iqap and uki.
• The iqap trichord is the 1st, the 7th and the 11th degrees of the fundamental perfect fourth division.
• The uki tetrachord is the 1st, the 7th, the 9th and the 11th degrees of the fundamental perfect fourth division.
• The jed rhythm is made from two patterns: the ojip and the qat. The patterns are to be played over the same period of time, concluding together regardless of beat number.
• 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 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.

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