The Hubristic Crux

The Hubristic Crux is a devotional form of music directed toward the worship of Natob originating in The Inefficient Evils. The form guides musicians during improvised performances. A chanter recites any composition of The Will of Agnostics while the music is played on a ebospzuzul and a xus. The musical voices cover melody, harmony and rhythm. The melody has short phrases throughout the form. Throughout, when possible, performers are to locally improvise and play staccato.

• The chanter always does harmony and should perform with feeling.
• The ebospzuzul always does the main melody and should perform expressively.
• The xus always provides the rhythm and should feel mysterious.
• The Hubristic Crux has a well-defined multi-passage structure: a theme and one to two series of variations on the theme possibly all repeated, a bridge-passage and a brief finale.
• The theme is at a hurried pace, and it is to be soft. The ebospzuzul stays in the raspy high register and the chanter's voice stays in the middle register. Only one pitch is ever played at a time in this passage. The passage is performed using the odo scale and in the uranstrostru rhythm. The passage should be performed using syllabic phrasing. The passage should always include a falling melody pattern with glides, grace notes and legato, often include a rising melody pattern with flattened sixth degree as well as grace notes, always include a falling-rising melody pattern and always include a rising-falling melody pattern with trills.
• Each of the series of variations moves more quickly than the last passage, and it is to be very soft. The ebospzuzul stays in the raspy high register and the chanter's voice stays in the high register. This passage typically has some sparse chords. Each passage is performed using the barulo scale and in the xedludutoka rhythm. Each passage should always include a falling melody pattern with flattened sixth degree as well as glides and arpeggios, always include a rising melody pattern with sharpened seventh degree as well as trills, rapid runs, arpeggios and legato and often include a rising-falling melody pattern with flattened sixth degree on the fall and flattened fourth degree on the rise as well as glides.
• The bridge-passage is extremely fast, and it is to start loud then be immediately soft. The ebospzuzul covers its entire range from the heavy low register to the raspy high register and the chanter's voice ranges from the low register to the middle register. Chords are packed close together in dense clusters in this passage. The passage is performed using the sangob scale and in the orustrur rhythm. The passage should sometimes include a rising melody pattern with glides, grace notes, mordents and legato.
• The finale is very slow, and it is to be moderately soft. The ebospzuzul stays in the heavy low register and the chanter's voice ranges from the middle register to the high register. Only one pitch is ever played at a time in this passage. The passage is performed using the odo scale and in the nexo rhythm. The passage should be performed using fills and syllabic phrasing. The passage should often include a rising-falling melody pattern with mordents and rapid runs.
• Scales are constructed from twelve notes spaced evenly throughout the octave. The tonic note is fixed only at the time of performance. After a scale is constructed, notes are named according to degree. The names are obungasnu (spoken ob), strob (stro), kestraruga (ke), dot (do), obst (obst), omuslone (om) and gul (gu).
• The odo heptatonic scale is thought of as joined chords spanning a perfect fifth and a perfect fourth. These chords are named nadu and xuzestra.
• The nadu pentachord is the 1st, the 2nd, the 3rd, the 4th and the 8th degrees of the semitone octave scale.
• The xuzestra tetrachord is the 8th, the 10th, the 11th and the 13th (completing the octave) degrees of the semitone octave scale.
• The barulo heptatonic scale is thought of as joined chords spanning a perfect fifth and a perfect fourth. These chords are named ragu and assna.
• The ragu pentachord is the 1st, the 2nd, the 3rd, the 5th and the 8th degrees of the semitone octave scale.
• The assna tetrachord is the 8th, the 9th, the 11th and the 13th (completing the octave) degrees of the semitone octave scale.
• The sangob heptatonic scale is thought of as joined chords spanning a perfect fifth and a perfect fourth. These chords are named nadu and roxstat.
• The roxstat tetrachord is the 8th, the 10th, the 12th and the 13th (completing the octave) degrees of the semitone octave scale.
• The uranstrostru rhythm is a single line with eight beats divided into four bars in a 2-2-2-2 pattern. The beats are named atosmosm (spoken at) and nesu (ne). The beat is stressed as follows:
• | x'x'| x x | - x | x x`|
• where ` marks a beat as early, ' marks a beat as late, x is a beat, - is silent and | indicates a bar.
• The xedludutoka rhythm is a single line with two beats. The beats are named dosno (spoken do) and luz (lu). The beat is stressed as follows:
• | - x |
• where x is a beat, - is silent and | indicates a bar.
• The orustrur rhythm is a single line with sixteen beats divided into two bars in a 8-8 pattern. The beats are named snas (spoken sna), ulong (ul), exusp (ex), ozu (oz), dusmorabur (du), kulu (ku), doram (do) and ellusmesmuk (el). The beat is stressed as follows:
• | - 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 nexo rhythm is made from two patterns: the orustrur (considered the primary) and the xedludutoka. The patterns are to be played over the same period of time, concluding together regardless of beat number.

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