The Satyric Music

The Satyric Music is a form of music used for entertainment originating in The President of Sanctifying. The form guides musicians during improvised performances. A speaker recites any composition of The Brood of Scaffoldings while the music is played on two akeb and a pikoq. The musical voices are joined in melody. The entire performance should be made with feeling. The melody has short phrases throughout the form. It is performed using the kiqo scale and in free rhythm. Throughout, when possible, performers are to make trills and alternate tension and repose.

• Each akeb always does the main melody.
• The pikoq always does the main melody.
• The Satyric Music has a well-defined multi-passage structure: a verse and a chorus all repeated two times, a bridge-passage, a lengthy verse and a chorus and a finale.
• The first verse is fast, and it is to be very soft. Each of the akeb covers its entire range from the sweet low register to the buzzy high register and the pikoq ranges from the fragile low register to the raspy middle register. Chords are packed close together in dense clusters in this passage.
• The first chorus is consistently slowing, and it is to be loud. Each of the akeb stays in the buzzy high register and the pikoq stays in the fragile low register. This passage is richly layered with full chords making use of the available range.
• The bridge-passage is extremely fast, and it is to be moderately soft. Each of the akeb ranges from the sweet low register to the even middle register and the pikoq ranges from the raspy middle register to the reedy high register. This passage is richly layered with full chords making use of the available range.
• The second verse is extremely fast, and it is to be moderately soft. Each of the akeb ranges from the even middle register to the buzzy high register and the pikoq stays in the fragile low register. This passage is richly layered with full chords making use of the available range.
• The second chorus is consistently slowing, and it is to be very soft. Each of the akeb stays in the sweet low register and the pikoq ranges from the raspy middle register to the reedy high register. This passage typically has some sparse chords.
• The finale is fast, and it is to be moderately soft. Each of the akeb ranges from the sweet low register to the even middle register and the pikoq stays in the raspy middle register. Chords are packed close together in dense clusters in this passage.
• Scales are constructed from twenty-four notes spaced evenly throughout the octave. The tonic note is fixed only at the time of performance.
• The kiqo heptatonic scale is constructed by selection of degrees from the fundamental scale. The degrees selected are the 1st, the 4th, the 8th, the 11th, the 14th, the 15th and the 18th.

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