The Certitude of Viewpoints

The Certitude of Viewpoints is a devotional form of music directed toward the worship of Biritemshkar Calculatingexplicated the Inferable originating in The Alone Bib. The rules of the form are applied by composers to produce individual pieces of music which can be performed. The music is played on a zosh and a moz. The musical voices bring melody, counterpoint and rhythm. The entire performance should feel agitated. The melody and counterpoint both have short phrases throughout the form. It is performed without preference for a scale. Throughout, when possible, composers and performers are to add fills and alternate tension and repose.

• The Certitude of Viewpoints has a well-defined multi-passage structure: a first theme, an exposition of the first theme, a second theme, a brief exposition of the second theme and a lengthy synthesis of previous passages.
• The first theme is voiced by the melody of the zosh and the rhythm of the moz. The passage accelerates as it proceeds, and it is to be very loud. The zosh stays in the dark high register. This passage typically has some sparse chords. The passage is performed in free rhythm.
• The first exposition is voiced by the melody of the zosh. The passage is at a free tempo, and it is to be moderately loud. The zosh covers its entire range. Chords are packed close together in dense clusters in this passage. The passage is performed in free rhythm.
• The second theme is voiced by the melody of the moz. The passage is extremely fast, and it is to be loud. Chords are packed close together in dense clusters in this passage. The passage is performed in free rhythm.
• The second exposition is voiced by the melody of the zosh and the counterpoint of the moz. The passage is twice the tempo of the last passage, and it is to be loud. The zosh covers its entire range. This passage typically has some sparse chords. The passage is performed in the rilgush rhythm.
• The synthesis is voiced by the melody of the zosh and the rhythm of the moz. The passage is extremely fast, and it is to be loud. The zosh covers its entire range. This passage typically has some sparse chords. The passage is performed in the afiddun rhythm.
• The rilgush rhythm is made from two patterns: the sak (considered the primary) and the erith. The patterns are to be played in the same beat, allowing one to repeat before the other is concluded.
• The sak rhythm is a single line with eight beats. The beats are named odulimozsen (spoken od), nebulursed (ne), rokul (ro), elomamar (el), sek (se), ibmas (ib), ster (ste) and ozlomig (oz). The beat is stressed as follows:
• | - - X x - x - - |
• where X marks an accented beat, x is a beat, - is silent and | indicates a bar.
• The erith rhythm is a single line with three beats. The beat is stressed as follows:
• | - x - |
• where x is a beat, - is silent and | indicates a bar.
• The afiddun rhythm is made from two patterns: the erith (considered the primary) and the comthad. The patterns are to be played over the same period of time, concluding together regardless of beat number.
• The comthad rhythm is a single line with four beats. The beat is stressed as follows:
• | X x x - |
• where X marks an accented beat, x is a beat, - is silent and | indicates a bar.

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