The Sea of Oceans

The Sea of Oceans is a devotional form of music directed toward the worship of Oqa originating in The Totem of Raising. The form guides musicians during improvised performances. Two to six chanters recite any composition of The Prurient Monkey-Pots while the music is played on two to five faxah and a oac. The music is melody and rhythm without harmony. The entire performance should feel mysterious. The melody has short phrases throughout the form.

• Each chanter always does the main melody.
• Each faxah always does the main melody.
• The oac always provides the rhythm.
• The Sea of Oceans has a well-defined multi-passage structure: a first theme, a lengthy exposition of the first theme, a bridge-passage, a second theme, an exposition of the second theme, a brief bridge-passage, a brief synthesis of previous passages, a lengthy bridge-passage and a finale.
• The first theme is moderately paced, and it is to be soft. Each of the chanters' voices covers its entire range and each of the faxah stays in the muddy low register. This passage typically has some sparse chords. The passage is performed without preference for a scale and in the tipoa rhythm.
• The first exposition accelerates as it proceeds, and it is to be in whispered undertones. Each of the chanters' voices ranges from the middle register to the high register and each of the faxah stays in the muddy low register. This passage typically has some sparse chords. The passage is performed using the iqap scale and in the kidoi rhythm.
• The first bridge-passage gradually slows as it comes to an end, and it is to become softer and softer. Each of the chanters' voices ranges from the middle register to the high register and each of the faxah covers its entire range from the muddy low register to the strident high register. This passage is richly layered with full chords making use of the available range. The passage is performed using the axod scale and in the ked rhythm.
• The second theme is moderately paced, and it is to be very loud. Each of the chanters' voices stays in the low register and each of the faxah covers its entire range from the muddy low register to the strident high register. Only one pitch is ever played at a time in this passage. The passage is performed using the if scale and in the ted rhythm.
• The second exposition is extremely fast, and it is to be loud. Each of the chanters' voices covers its entire range and each of the faxah covers its entire range from the muddy low register to the strident high register. This passage features only melodic tones and intervals. The passage is performed using the kopi scale and in free rhythm.
• The second bridge-passage is moderately fast, and it is to be very soft. Each of the chanters' voices stays in the middle register and each of the faxah stays in the strident high register. This passage typically has some sparse chords. The passage is performed using the kiteq scale and in the qada rhythm.
• The synthesis accelerates as it proceeds, and it is to be in whispered undertones. Each of the chanters' voices ranges from the low register to the middle register and each of the faxah covers its entire range from the muddy low register to the strident high register. This passage is richly layered with full chords making use of the available range. The passage is performed using the opoq scale and in the otep rhythm.
• The third bridge-passage is at a free tempo, and it is to become louder and louder. Each of the chanters' voices stays in the low register and each of the faxah stays in the muddy low register. Chords are packed close together in dense clusters in this passage. The passage is performed using the toipe scale and in the totop rhythm.
• The finale is at a hurried pace, and it is to be in whispered undertones. Each of the chanters' voices stays in the low register and each of the faxah covers its entire range from the muddy low register to the strident high register. This passage is richly layered with full chords making use of the available range. The passage is performed using the opoq scale and in free rhythm.
• Scales are constructed from twenty-two notes dividing the octave. In quartertones, their spacing is roughly 1xxx-xxxxxx-xxxxxxxxxxxxO, where 1 is the tonic, O marks the octave and x marks other notes. The tonic note is a fixed tone passed from teacher to student. Every note is named. The names are uki (spoken uk), uok (uok), ahdid (ah), toki (to), oq (oq), dotip (do), kotoq (ko), kiqo (ki), ituq (it), piaki (pia), edo (ed), qahpa (qa), ej (ej), at (at), iadok (iad), poqin (po), oti (ot), nuod (nuo), ojip (oj), toad (toa), paciyq (pa) and oaf (oaf).
• The iqap pentatonic scale is constructed by selection of degrees from the fundamental scale. The degrees selected are the 1st, the 6th, the 11th, the 13th and the 20th.
• The axod pentatonic scale is constructed by selection of degrees from the fundamental scale. The degrees selected are the 1st, the 6th, the 12th, the 17th and the 20th.
• The if heptatonic scale is constructed by selection of degrees from the fundamental scale. The degrees selected are the 1st, the 4th, the 8th, the 10th, the 12th, the 17th and the 19th.
• The kopi heptatonic scale is constructed by selection of degrees from the fundamental scale. The degrees selected are the 1st, the 5th, the 7th, the 9th, the 12th, the 15th and the 18th.
• The kiteq heptatonic scale is constructed by selection of degrees from the fundamental scale. The degrees selected are the 1st, the 4th, the 6th, the 9th, the 14th, the 17th and the 18th.
• The opoq hexatonic scale is constructed by selection of degrees from the fundamental scale. The degrees selected are the 1st, the 4th, the 10th, the 13th, the 18th and the 21st.
• The toipe heptatonic scale is constructed by selection of degrees from the fundamental scale. The degrees selected are the 1st, the 5th, the 7th, the 10th, the 13th, the 17th and the 18th.
• The tipoa rhythm is made from two patterns: the ted and the kidoi.
• The ted rhythm is a single line with two beats. The beats are named qeqok (spoken qe) and akoi (ak). The beat is stressed as follows:
• | x x'|
• where ' marks a beat as late, x is a beat and | indicates a bar.
• The kidoi rhythm is a single line with two beats. The beats are named jed (spoken je) and dokot (do). The beat is stressed as follows:
• | - x |
• where x is a beat, - is silent and | indicates a bar.
• The ked rhythm is made from three patterns: the op (considered the primary), the kidoi and the qapoaq. The patterns are to be played over the same period of time, concluding together regardless of beat number.
• The op rhythm is a single line with two beats. The beats are named fiepo (spoken fie) and ezok (ez). The beat is stressed as follows:
• | - x |
• where x is a beat, - is silent and | indicates a bar.
• The qapoaq rhythm is a single line with thirty-two beats divided into five bars in a 9-5-7-5-6 pattern. The beat is stressed as follows:
• | - x - x - x x - x'| - - x - - | - - x x x x - | x x - - x | - x x x x - |
• where ' marks a beat as late, x is a beat, - is silent and | indicates a bar.
• The qada rhythm is made from two patterns: the akoaz (considered the primary) and the op.
• The akoaz rhythm is a single line with two beats. The beat is stressed as follows:
• | - x |
• where x is a beat, - is silent and | indicates a bar.
• The otep rhythm is made from two patterns: the kidoi (considered the primary) and the qapoaq. The patterns are to be played over the same period of time, concluding together regardless of beat number.
• The totop rhythm is made from two patterns: the akoaz (considered the primary) and the kidoi.

Events