Na’vi banquet songs are types of way, ‘ancient, traditional song or poem’. These way constitute a clan’s ’okrol, ‘sung ancient history’. They include origins songs, which are lengthy (up to four hours) retellings of Pandoran mythology such as the legend of Toruk Makto, historical epics, which recount great battles and great hunts, and praise songs, which are sung for the most heroic Na’vi leaders and warriors. Youngsters learn the majority of their history by listening to their elders sing these epics. To outsiders, all ’okrol may sound remarkably similar musically. However, each way structure is distinguished by the style of its prose, line length and number of lines, and the rhyme scheme. Waytelem are used to record way.
Origins songs use a rhyme scheme of AAA BB AAA CC AAA, etc. They are sung in a very old, very formal style of Na’vi language. Each line with an A rhyme is fourteen syllables long. Lines which use other rhymes are either seven or twelve syllables long. No new origin songs have been written during living memory.
Historical epics use a rhyme scheme of paired phrases (AA BB, CC, etc.). All lines are twelve syllables long. A simpler language style is utilized, presumably so that the meaning is not lost on later generations. This also simplifies learning for Na’vi children. New historical songs are composed when an event warrants a place in clan lore, but since there is no concept of ‘song composer’ in Na’vi culture, anyone with a gift for singing, rhyming and remembering may compose a historical song.
Praise songs are simpler still. There is no set structure apart from a rhyme scheme of ABAB CDCD, etc. Lines may be any number of syllables long.
Since these way are the primary means by which Na’vi trace their history and genealogy, precise diction and accurate repetition are considered of utmost importance. Although all Na’vi are expected to memorize these historical tales and be able to sing them, those with the best memories and most accurate voices are entrusted with the responsibility of preserving the ’okrol and passing the way down to the next generation.
Musically, banquet songs are the most complex and impressive of Na’vi songs. The musical texture is divided between men and women: women sing the melody and lyrics in their typical heterophonic fashion (in which various performers sing slightly different melodies) while men provide what serves as a drone. The melody can be performed in one of two ways: either one woman will sing a fairly unadorned version or, more commonly, many women will sing in their typical cascading heterophonic style but with much ornamentation, almost in a competitive manner. Solo renditions are heard from time to time, but the Na’vi prefer them sung with great gusto by a large group.
As for the men’s drone, rather than holding a steady pitch each man independently fluctuates his pitch microtonally, varying up to one and three-fifths on either side of the fundamental pitch. The result gives an overall impression of a drone, but it exhibits a ‘living’ quality in the subtle movements among the men’s voices. The Na’vi believe that this ‘living’ drone represents the spirit of Eywa, much akin to the ancient Greek concept of the music of the spheres.