The Planets of Sploshing

The Planets of Sploshing is a devotional form of music directed toward the worship of Odina Spleenlavas originating in The Glamorous Asparagus. The rules of the form are applied by composers to produce individual pieces of music which can be performed. A chanter recites any composition of The Will of Testing. Only one pitch is ever played at a time. It is performed using the uwame scale. Throughout, when possible, composers and performers are to locally improvise and modulate frequently.

• The chanter always does the main melody and should stress the rhythm.
• The Planets of Sploshing has a well-defined multi-passage structure: a theme, an exposition of the theme, a brief recapitulation of the theme and a finale.
• The theme is consistently slowing, and it is to start loud then be immediately soft. The chanter's voice stays in the low register. The passage has phrases of varied length in the melody. The passage is performed in the teze rhythm. The passage should sometimes include a falling-rising melody pattern with glides.
• The exposition is half the tempo of the last passage, and it is to fade into silence. The chanter's voice covers its entire range. The passage has phrases of varied length in the melody. The passage is performed in the oyecadi rhythm. The passage should sometimes include a rising-falling melody pattern with sharpened seventh degree on the rise as well as arpeggios and staccato, sometimes include a falling melody pattern with grace notes, mordents and legato, often include a rising melody pattern with flattened fourth degree as well as legato and often include a falling-rising melody pattern with glides, grace notes, staccato and legato.
• The recapitulation is at a walking pace, and it is to become louder and louder. The chanter's voice covers its entire range. The passage has short phrases in the melody. The passage is performed in free rhythm. The passage should be composed and performed using mordents. The passage should often include a rising-falling melody pattern with sharpened fourth degree on the rise as well as glides, trills and staccato, always include a falling melody pattern with flattened second degree as well as trills and rapid runs, often include a rising melody pattern with arpeggios and staccato and often include a falling-rising melody pattern with flattened third degree on the rise as well as trills and rapid runs.
• The finale is twice the tempo of the last passage, and it is to become louder and louder. The chanter's voice stays in the low register. The passage has long phrases in the melody. The passage is performed in the pathethi rhythm. The passage should sometimes include a rising-falling melody pattern with grace notes and mordents, sometimes include a rising melody pattern with flattened third degree, always include a falling-rising melody pattern with mordents and trills and often include a falling melody pattern with sharpened seventh degree and flattened fourth degree as well as glides and legato.
• Scales are constructed from twenty-four notes spaced evenly throughout the octave. The tonic note is a fixed tone passed from teacher to student.
• The uwame heptatonic scale is thought of as two disjoint chords spanning a tritone and a perfect fourth. These chords are named oyifolewe and umamalu.
• The oyifolewe tetrachord is the 1st, the 2nd, the 7th and the 13th degrees of the quartertone octave scale.
• The umamalu tetrachord is the 15th, the 19th, the 21st and the 25th (completing the octave) degrees of the quartertone octave scale.
• The teze rhythm is a single line with seventeen beats divided into four bars in a 5-2-5-5 pattern. The beat is stressed as follows:
• | - x - - - | x x | - x X - x | - - x - x |
• where X marks an accented beat, x is a beat, - is silent and | indicates a bar.
• The oyecadi rhythm is made from two patterns: the wori (considered the primary) and the oyathu. The patterns are to be played over the same period of time, concluding together regardless of beat number.
• The wori 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 oyathu rhythm is a single line with thirty-two beats divided into four bars in a 8-8-8-8 pattern. The beats are named slutha (spoken slu), yalona (ya), fewiyo (fe), equatino (eq), idara (id), afene (af), ominede (om) and irera (ir). The beat is stressed as follows:
• | - x - - - - x - | - - - - x - - - | - - x - - - X x | x - x x x - - X |
• where X marks an accented beat, x is a beat, - is silent and | indicates a bar.
• The pathethi rhythm is made from two patterns: the wori and the the. The patterns are to be played in the same beat, allowing one to repeat before the other is concluded.
• The the 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.

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