The Lecture of Brainstems

The Lecture of Brainstems is a devotional form of music directed toward the worship of Oq originating in The Dark-Tan Tribune. 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 kop and three to five apo. The musical voices join in melody and counterpoint, harmony and rhythm. The entire performance should bring a sense of motion, and it is to be moderately loud. The melody has phrases of varied length, while the counterpoint has mid-length phrases throughout the form. It is performed in free rhythm.

• The Lecture of Brainstems has a well-defined multi-passage structure: a first theme, an exposition of the first theme, a second theme, an exposition of the second theme, a bridge-passage and a synthesis of previous passages.
• The first theme is voiced by the melody of the apo and the harmony of the kop. The passage is very fast. Each of the apo covers its entire range from the heavy 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 ahdid scale.
• The first exposition is voiced by the melody of the apo and the rhythm of the kop. The passage is at a free tempo. Each of the apo stays in the heavy low register. This passage features only melodic tones and intervals. The passage is performed using the toipe scale.
• The second theme is voiced by the melody of the apo and the counterpoint of the kop. The passage is slow. Each of the apo stays in the heavy low register. Only one pitch is ever played at a time in this passage. The passage is performed using the opoq scale.
• The second exposition is voiced by the melody of the kop and the melody of the apo. The passage is slow. Each of the apo covers its entire range from the heavy low register to the strident high register. Only one pitch is ever played at a time in this passage. The passage is performed without preference for a scale.
• The bridge-passage is voiced by the melody of the kop. The passage is moderately fast. This passage features only melodic tones and intervals. The passage is performed using the iqap scale. The passage should be composed and performed using glides.
• The synthesis is voiced by the melody of the apo and the rhythm of the kop. The passage is very slow. Each of the apo covers its entire range from the heavy low register to the strident high register. This passage features only melodic tones and intervals. The passage is performed using the axod scale.
• Scales are constructed from twelve notes spaced evenly throughout the octave. The tonic note is fixed only at the time of performance. Preferred notes in the fundamental scale are named. The names are toki (spoken to, 1st), oq (oq, 5th) and dotip (do, 10th).
• The ahdid heptatonic scale is constructed by selection of degrees from the fundamental scale. The degrees selected are the 1st, the 2nd, the 3rd, the 4th, the 5th, the 7th and the 8th.
• The toipe heptatonic scale is constructed by selection of degrees from the fundamental scale. The degrees selected are the 1st, the 2nd, the 3rd, the 4th, the 5th, the 6th and the 7th.
• The opoq hexatonic scale is constructed by selection of degrees from the fundamental scale. The degrees selected are the 1st, the 3rd, the 5th, the 8th, the 10th and the 11th.
• The iqap pentatonic scale is constructed by selection of degrees from the fundamental scale. The degrees selected are the 1st, the 4th, the 5th, the 8th and the 9th.
• The axod hexatonic scale is constructed by selection of degrees from the fundamental scale. The degrees selected are the 1st, the 4th, the 6th, the 7th, the 9th and the 11th.

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