The Female Seashore

The Female Seashore is a devotional form of music directed toward the worship of Dikapi originating in The Clocks of Disloyalty. The form guides musicians during improvised performances. A chanter recites nonsensical words and sounds. The entire performance is to become softer and softer. The melody has short phrases throughout the form. Only one pitch is ever played at a time. It is performed using the uwakri scale and in the bokem rhythm. Throughout, when possible, performers are to use mordents.

• The chanter always does the main melody and should stress the rhythm.
• The Female Seashore has a well-defined multi-passage structure: a lengthy theme, a bridge-passage and one to two brief series of variations on the theme and a finale.
• The theme is moderately paced. The chanter's voice covers its entire range.
• The bridge-passage gradually slows as it comes to an end. The chanter's voice stays in the low register.
• Each of the series of variations is fast. The chanter's voice ranges from the middle register to the high register. Each passage should be performed using locally improvisation. Each passage should often include a falling-rising melody pattern with trills and often include a rising melody pattern with sharpened second degree as well as glides, grace notes, rapid runs and staccato.
• The finale is moderately paced. The chanter's voice covers its entire range. The passage should be performed using locally improvisation. The passage should sometimes include a falling melody pattern with flattened fourth degree and often include a rising melody pattern with grace notes, arpeggios and staccato.
• Scales are conceived of as two chords built using a division of the perfect fourth interval into eleven notes. The tonic note is a fixed tone passed from teacher to student.
• As always, the uwakri pentatonic scale is thought of as two disjoint chords drawn from the fundamental division of the perfect fourth. These chords are named mushast and ithut.
• The mushast trichord is the 1st, the 5th and the 11th degrees of the fundamental perfect fourth division.
• The ithut trichord is the 1st, the 5th and the 11th degrees of the fundamental perfect fourth division.
• The bokem rhythm is made from two patterns: the ibbekur (considered the primary) and the vuthrilsim. The patterns are to be played in the same beat, allowing one to repeat before the other is concluded.
• The ibbekur rhythm is a single line with fifteen beats divided into three bars in a 5-5-5 pattern. The beats are named ocgothrom (spoken oc), ingdaspod (ing), gad (ga), anar (an) and imesathi (im). The beat is stressed as follows:
• | - - - - x | x x - - - | - x - - x`|
• where ` marks a beat as early, x is a beat, - is silent and | indicates a bar.
• The vuthrilsim rhythm is a single line with thirty-two beats divided into four bars in a 8-8-8-8 pattern. The beats are named desle (spoken de), pethrebinpu (pe), uthrogumat (uthr), sorot (so), pumdom (pu), dos (do), aheda (ah) and ofing (of). The beat is stressed as follows:
• | - x x - x x'x - | - x x x`x - - - | x'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.

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