The Durian of Chanting

The Durian of Chanting is a devotional form of music originating in The Glumprong of Tongs. The form guides musicians during improvised performances. A chanter recites any composition of The Solid Cobaltite while the music is played on a ogmen. The musical voices bring melody with harmony. The melody has short phrases throughout the form. Pitches are densely packed in clusters as music moves from chord to chord. The music repeats for as long as necessary. It is performed using the odo scale and in the luz rhythm. Throughout, when possible, performers are to play rapid runs, alternate tension and repose, play arpeggios, play staccato and match notes and syllables.

• The chanter always does harmony and should be fiery.
• The ogmen always does the main melody and should be melancholic.
• The Durian of Chanting has a well-defined multi-passage structure: one to two lengthy passages and another one to two passages and a coda.
• Each of the first simple passages is moderately paced, and it is to be very loud. The chanter's voice ranges from the low register to the middle register.
• Each of the second simple passages is very slow, and it is to be very loud. The chanter's voice covers its entire range.
• The coda is moderately paced, and it is to be soft. The chanter's voice stays in the high register.
• Scales are constructed from twenty-four notes spaced evenly throughout the octave. The tonic note is fixed only at the time of performance.
• The odo hexatonic scale is thought of as joined chords spanning a perfect fifth and a perfect fourth. These chords are named axslor and roxstat.
• The axslor tetrachord is the 1st, the 4th, the 5th and the 15th degrees of the quartertone octave scale.
• The roxstat tetrachord is the 15th, the 17th, the 22nd and the 25th (completing the octave) degrees of the quartertone octave scale.
• The luz rhythm is made from two patterns: the dot (considered the primary) and the obungasnu. The patterns are to be played over the same period of time, concluding together regardless of beat number.
• The dot rhythm is a single line with thirty-two beats divided into eight bars in a 4-4-4-4-4-4-4-4 pattern. The beat is stressed as follows:
• | - x - - | - x - - | x - 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 obungasnu rhythm is a single line with thirty beats divided into four bars in a 7-6-7-10 pattern. The beat is stressed as follows:
• | x x - - - X x | - - x 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.

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