The Disemboweled Esteem

The Disemboweled Esteem is a devotional form of music directed toward the worship of Nokzam the Crown of Teeth originating in The New Pick. The form guides musicians during improvised performances. A singer recites The Whip of Scalding. The entire performance should stress the rhythm. The melody has short phrases throughout the form. Only one pitch is ever played at a time. The music repeats for as long as necessary. It is performed in the nural rhythm. Throughout, when possible, performers are to use mordents, alternate tension and repose, play arpeggios and match notes and syllables.

• The singer always does the main melody and is to be in whispered undertones.
• The Disemboweled Esteem has a well-defined multi-passage structure: an introduction and a passage and an additional brief passage.
• The introduction accelerates as it proceeds. The singer's voice covers its entire range. The passage is performed using the roder scale.
• The first simple passage is very fast. The singer's voice covers its entire range. The passage is performed using the nel scale.
• The second simple passage is slower than the last passage. The singer's voice ranges from the middle register to the high register. The passage is performed using the biban 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 roder pentatonic scale is thought of as two disjoint chords spanning a perfect fifth and a major third. These chords are named ontak and lakish.
• The ontak trichord is the 1st, the 7th and the 15th degrees of the quartertone octave scale.
• The lakish trichord is the 17th, the 20th and the 25th (completing the octave) degrees of the quartertone octave scale.
• The nel heptatonic scale is thought of as two disjoint chords spanning a perfect fifth and a major third. These chords are named thoth and lakish.
• The thoth pentachord is the 1st, the 4th, the 7th, the 11th and the 15th degrees of the quartertone octave scale.
• The biban heptatonic scale is thought of as two disjoint chords spanning a tritone and a perfect fourth. These chords are named bidok and sedil.
• The bidok tetrachord is the 1st, the 6th, the 9th and the 13th degrees of the quartertone octave scale.
• The sedil tetrachord is the 15th, the 18th, the 19th and the 25th (completing the octave) degrees of the quartertone octave scale.
• The nural rhythm is made from two patterns: the emuth and the robek. The patterns are to be played in the same beat, allowing one to repeat before the other is concluded.
• The emuth rhythm is a single line with twenty-one beats divided into four bars in a 7-5-4-5 pattern. The beat is stressed as follows:
• | x - - x - x - | x x x - x | - x - x | - x x - x |
• where x is a beat, - is silent and | indicates a bar.
• The robek rhythm is a single line with nineteen beats divided into two bars in a 10-9 pattern. The beat is stressed as follows:
• | - - x x - - x x - x | - x - x - - - x - |
• where x is a beat, - is silent and | indicates a bar.

Events