The Holiness of Ethics

The Holiness of Ethics is a devotional form of music directed toward the worship of Oapo the Fair originating in The Liberty of Lieges. The form guides musicians during improvised performances. A singer recites The Effluent of Protrusions. The entire performance is at a free tempo. The melody has short phrases throughout the form. Only one pitch is ever played at a time. Throughout, when possible, performers are to alternate tension and repose and play arpeggios.

• The singer always does the main melody and should feel playful.
• The Holiness of Ethics has a well-defined multi-passage structure: a theme and one to two brief series of variations on the theme possibly all repeated, a bridge-passage and a lengthy finale.
• The theme is to start loud then be immediately soft. The singer's voice ranges from the middle register to the high register. The passage is performed using the toipe scale and in the fiepo rhythm.
• Each of the series of variations is to be very loud. The singer's voice ranges from the middle register to the high register. Each passage is performed using the toipe scale and in the ezok rhythm.
• The bridge-passage is to be moderately loud. The singer's voice ranges from the low register to the middle register. The passage is performed using the kiqo scale and in the qapoaq rhythm.
• The finale is to be loud. The singer's voice covers its entire range. The passage is performed using the ituq scale and in the kidoi rhythm.
• 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 toipe hexatonic scale is thought of as two disjoint chords drawn from the fundamental division of the perfect fourth. These chords are named kiteq and uok.
• The kiteq trichord is the 1st, the 9th and the 11th degrees of the fundamental perfect fourth division.
• The uok tetrachord is the 1st, the 3rd, the 5th and the 11th degrees of the fundamental perfect fourth division.
• As always, the kiqo hexatonic scale is thought of as two disjoint chords drawn from the fundamental division of the perfect fourth. These chords are named iqap and kopi.
• The iqap trichord is the 1st, the 7th and the 11th degrees of the fundamental perfect fourth division.
• The kopi tetrachord is the 1st, the 5th, the 7th and the 11th degrees of the fundamental perfect fourth division.
• As always, the ituq hexatonic scale is thought of as two disjoint chords drawn from the fundamental division of the perfect fourth. These chords are named kiteq and uki.
• The uki tetrachord is the 1st, the 7th, the 9th and the 11th degrees of the fundamental perfect fourth division.
• The fiepo rhythm is made from two patterns: the qat and the kot. The patterns are to be played over the same period of time, concluding together regardless of beat number.
• 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.
• The kot rhythm is a single line with seven beats. The beat is stressed as follows:
• | x X x - x x x |
• where X marks an accented beat, x is a beat, - is silent and | indicates a bar.
• The ezok rhythm is made from two patterns: the ojip and the oaf.
• 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 oaf rhythm is a single line with four beats. The beats are named ted (spoken te), qeqok (qe), akoi (ak) and op (op). The beat is stressed as follows:
• | - - x - |
• where x is a beat, - is silent and | indicates a bar.
• The qapoaq rhythm is made from two patterns: the paciyq and the oaf. The patterns are to be played over the same period of time, concluding together regardless of beat number.
• The paciyq rhythm is a single line with three beats. The beat is stressed as follows:
• | X x x |
• where X marks an accented beat, x is a beat and | indicates a bar.
• The kidoi rhythm is made from two patterns: the ojip and the oaf.

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