The Schorl Penguin-Person of Blackberries

The Schorl Penguin-person of Blackberries is a devotional form of music directed toward the worship of Vul originating in The Writ of Prodigies. The form guides musicians during improvised performances. A chanter recites nonsensical words and sounds while the music is played on a sathrak. The musical voices bring melody with harmony. The melody has mid-length phrases throughout the form. It is performed in the bokem rhythm. Throughout, when possible, performers are to modulate frequently.

• The chanter always does the main melody, should be fiery and is to become louder and louder.
• The sathrak always does harmony, should be passionate and is to become softer and softer.
• The Schorl Penguin-person of Blackberries has the following structure: a theme and one to two series of variations on the theme possibly all repeated.
• The theme is fast. The chanter's voice stays in the high register and the sathrak covers its entire range from the slicing low register to the harsh high register. This passage features only melodic tones and intervals. The passage is performed using the xathrato scale.
• Each of the series of variations is very fast. The chanter's voice stays in the low register and the sathrak ranges from the nasal middle register to the harsh high register. Only one pitch is ever played at a time in this passage. Each passage is performed using the xathrato scale.
• Scales are constructed from twelve notes spaced evenly throughout the octave. The tonic note is fixed only at the time of performance.
• The xathrato heptatonic scale is thought of as two disjoint chords spanning a perfect fifth and a major third. These chords are named oruslumcopo and ibalarek.
• The oruslumcopo pentachord is the 1st, the 2nd, the 3rd, the 6th and the 8th degrees of the semitone octave scale.
• The ibalarek trichord is the 9th, the 12th and the 13th (completing the octave) degrees of the semitone octave scale.
• The bokem rhythm is made from three patterns: the dos (considered the primary), the kungujith and the uthrogumat. The patterns are to be played over the same period of time, concluding together regardless of beat number.
• The dos rhythm is a single line with eight beats divided into two bars in a 4-4 pattern. The beats are named aheda (spoken ah), ofing (of), ujel (uj) and bushcirne (bu). The beat is stressed as follows:
• | x x x - | - x x - |
• where x is a beat, - is silent and | indicates a bar.
• The kungujith rhythm is a single line with thirty-two beats divided into eight bars in a 4-4-4-4-4-4-4-4 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 uthrogumat rhythm is a single line with two beats. The beats are named sorot (spoken so) and pumdom (pu). The beat is stressed as follows:
• | x - |
• where x is a beat, - is silent and | indicates a bar.

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