The Kenaf Maples

The Kenaf Maples is a devotional form of music directed toward the worship of Ebimipo originating in The Coati of Shedding. 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 ikeciseli. The entire performance should be fiery. The melody has long phrases throughout the form. Only one pitch is ever played at a time. It is performed in free rhythm. Throughout, when possible, composers and performers are to alternate tension and repose.

• The ikeciseli always does the main melody.
• The Kenaf Maples has a well-defined multi-passage structure: a lengthy introduction, a lengthy first theme, an exposition of the first theme, a lengthy bridge-passage, a lengthy second theme, an exposition of the second theme, a bridge-passage and a synthesis of previous passages.
• The introduction is at a hurried pace, and it is to be in whispered undertones. The ikeciseli stays in the strident high register. The passage is performed using the seyawi scale.
• The first theme is extremely fast, and it is to fade into silence. The ikeciseli covers its entire range from the eerie low register to the strident high register. The passage is performed using the ezococa scale. The passage should be composed and performed using locally improvisation. The passage should sometimes include a falling melody pattern with glides, grace notes and trills, always include a falling-rising melody pattern with sharpened third degree on the rise as well as grace notes, trills, rapid runs, arpeggios and staccato, sometimes include a rising-falling melody pattern with sharpened fifth degree on the fall as well as trills, rapid runs, staccato and legato and often include a rising melody pattern with grace notes, mordents and legato.
• The first exposition is consistently slowing, and it is to be moderately loud. The ikeciseli ranges from the eerie low register to the watery middle register. The passage is performed using the viceva scale.
• The first bridge-passage is consistently slowing, and it is to be moderately loud. The ikeciseli ranges from the eerie low register to the watery middle register. The passage is performed using the moro scale.
• The second theme is slower than the last passage, and it is to become softer and softer. The ikeciseli covers its entire range from the eerie low register to the strident high register. The passage is performed using the everinopefa scale.
• The second exposition is moderately paced, and it is to be very soft. The ikeciseli ranges from the watery middle register to the strident high register. The passage is performed using the ebalo scale. The passage should be composed and performed using locally improvisation. The passage should always include a rising-falling melody pattern with sharpened second degree on the fall as well as rapid runs, always include a rising melody pattern with flattened second degree as well as grace notes, mordents and legato, sometimes include a falling melody pattern with legato and always include a falling-rising melody pattern with sharpened third degree on the rise as well as grace notes.
• The second bridge-passage is very slow, and it is to be moderately soft. The ikeciseli ranges from the eerie low register to the watery middle register. The passage is performed using the everinopefa scale.
• The synthesis accelerates as it proceeds, and it is to be very soft. The ikeciseli stays in the eerie low register. The passage is performed using the viceva scale.
• Scales are constructed from twenty-four notes spaced evenly throughout the octave. The tonic note is fixed only at the time of performance.
• The seyawi pentatonic scale is thought of as two disjoint chords spanning two perfect fourths. These chords are named oyifolewe and bone.
• The oyifolewe trichord is the 1st, the 5th and the 11th degrees of the quartertone octave scale.
• The bone trichord is the 15th, the 21st and the 25th (completing the octave) degrees of the quartertone octave scale.
• The ezococa pentatonic scale is thought of as two disjoint chords spanning two perfect fourths. These chords are named ucame and bone.
• The ucame trichord is the 1st, the 8th and the 11th degrees of the quartertone octave scale.
• The viceva heptatonic scale is thought of as two disjoint chords spanning two perfect fourths. These chords are named ifiyo and emayethi.
• The ifiyo tetrachord is the 1st, the 3rd, the 4th and the 11th degrees of the quartertone octave scale.
• The emayethi tetrachord is the 15th, the 19th, the 21st and the 25th (completing the octave) degrees of the quartertone octave scale.
• The moro hexatonic scale is thought of as two disjoint chords spanning two perfect fourths. These chords are named ipila and umamalu.
• The ipila trichord is the 1st, the 9th and the 11th degrees of the quartertone octave scale.
• The umamalu tetrachord is the 15th, the 16th, the 21st and the 25th (completing the octave) degrees of the quartertone octave scale.
• The everinopefa hexatonic scale is thought of as two disjoint chords spanning two perfect fourths. These chords are named ipila and emayethi.
• The ebalo pentatonic scale is thought of as two disjoint chords spanning two perfect fourths. These chords are named oyifolewe and izeli.
• The izeli trichord is the 15th, the 23rd and the 25th (completing the octave) degrees of the quartertone octave scale.

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