The Wonder of Embraces

The Wonder of Embraces is a devotional form of music originating in The Persuasive Sin. The form guides musicians during improvised performances. The music is played on a olngo, one to two murox and a snodub. The musical voices bring melody with harmony. The entire performance is very slow. The melody has long phrases throughout the form. Only one pitch is ever played at a time. It is performed in the ron rhythm. Throughout, when possible, performers are to use mordents and play staccato.

• The olngo always does the main melody, should perform sweetly and modulates frequently.
• Each murox always does harmony and should be broad.
• The snodub always does the main melody, should be stately and modulates frequently.
• The Wonder of Embraces has a well-defined multi-passage structure: an introduction and a passage and an additional passage.
• The introduction is to be moderately soft. The olngo covers its entire range from the raspy low register to the fragile high register. The passage is performed using the odu scale.
• The first simple passage is to be moderately loud. The olngo stays in the fragile high register. The passage is performed using the sasne scale.
• The second simple passage is to be moderately loud. The olngo stays in the raspy low register. The passage is performed using the usmdas scale.
• Scales are constructed from twenty-four notes spaced evenly throughout the octave. The tonic note is a fixed tone passed from teacher to student.
• The odu pentatonic scale is thought of as joined chords spanning a perfect fifth and a perfect fourth. These chords are named usnusp and slusna.
• The usnusp trichord is the 1st, the 9th and the 15th degrees of the quartertone octave scale.
• The slusna tetrachord is the 15th, the 20th, the 21st and the 25th (completing the octave) degrees of the quartertone octave scale.
• The sasne pentatonic scale is thought of as joined chords spanning a perfect fifth and a perfect fourth. These chords are named lasm and slulasp.
• The lasm trichord is the 1st, the 7th and the 15th degrees of the quartertone octave scale.
• The slulasp tetrachord is the 15th, the 19th, the 21st and the 25th (completing the octave) degrees of the quartertone octave scale.
• The usmdas heptatonic scale is thought of as joined chords spanning a perfect fifth and a perfect fourth. These chords are named ngub and slusna.
• The ngub pentachord is the 1st, the 3rd, the 8th, the 13th and the 15th degrees of the quartertone octave scale.
• The ron rhythm is made from two patterns: the uto (considered the primary) and the zak. The patterns are to be played in the same beat, allowing one to repeat before the other is concluded.
• The uto rhythm is a single line with eight beats. The beats are named nol (spoken no), dab (da), agun (ag), ung (ung), stotho (sto), bor (bo), osm (osm) and enu (en). The beat is stressed as follows:
• | x x X x x x - x |
• where X marks an accented beat, x is a beat, - is silent and | indicates a bar.
• The zak rhythm is a single line with two beats. The beats are named tuxxu (spoken tu) and ugas (ug). The beat is stressed as follows:
• | x x |
• where x is a beat and | indicates a bar.

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