The Ocular Spawn

The Ocular Spawn is a devotional form of music directed toward the worship of Ip Hippopotamus-personopossums the Sapphire Black-mamba-person originating in The Focal Systems. The form guides musicians during improvised performances. The music is played on a asro. The entire performance is to be very soft. The melody has long phrases throughout the form. It is performed using the pethrebinpu scale. Throughout, when possible, performers are to make trills.

• The asro always does the main melody.
• The Ocular Spawn has a well-defined multi-passage structure: a theme and one to two series of variations on the theme possibly all repeated and a coda.
• The theme should feel mournful and gradually slows as it comes to an end. Only one pitch is ever played at a time in this passage. The passage is performed in the jonal rhythm.
• Each of the series of variations should be fiery and is fast. This passage features only melodic tones and intervals. Each passage is performed in the ciloc rhythm.
• The coda should be stately and slows and broadens. This passage is richly layered with full chords making use of the available range. The passage is performed in free rhythm.
• Scales are conceived of as two chords built using a division of the perfect fourth interval into eight notes. The tonic note is a fixed tone passed from teacher to student.
• As always, the pethrebinpu hexatonic scale is thought of as two disjoint chords drawn from the fundamental division of the perfect fourth. These chords are named ohug and ithut.
• The ohug tetrachord is the 1st, the 3rd, the 4th and the 8th degrees of the fundamental perfect fourth division.
• The ithut trichord is the 1st, the 5th and the 8th degrees of the fundamental perfect fourth division.
• The jonal rhythm is made from two patterns: the naccak and the ibbekur. The patterns are to be played over the same period of time, concluding together regardless of beat number.
• The naccak rhythm is a single line with four beats. The beats are named vishages (spoken vi), kungujith (ku), udal (ud) and xur (xu). The beat is stressed as follows:
• | x - - x |
• where x is a beat, - is silent and | indicates a bar.
• The ibbekur rhythm is a single line with five beats. The beat is stressed as follows:
• | x - x x'x |
• where ' marks a beat as late, x is a beat, - is silent and | indicates a bar.
• The ciloc rhythm is made from two patterns: the emsor and the naccak. The patterns are to be played over the same period of time, concluding together regardless of beat number.
• The emsor rhythm is a single line with nine beats divided into three bars in a 3-3-3 pattern. The beat is stressed as follows:
• | x - - | x'x'x | - - x |
• where ' marks a beat as late, x is a beat, - is silent and | indicates a bar.

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