Souffles (Champs II ), the Mobile and the Musical Language of Gilles Tremblay

Souffles (Champs II ), the Mobile and the Musical Language of Gilles Tremblay

André Villeneuve

To notate is to determine, determine by signs (letters, numbers, marks, colors, etc.) an idea or a concept. In terms of musical composition, to notate is also to provide limitations, those imposed by the signs themselves; any system of notation whatever, imposes its own limitations.

Since about 1950, we have seen an extraordinary fruition of new signs constituting, for the most part, personal codes of notation required to interpret the new forms and sonorities of the contemporary musical language. The score itself, a repository of notation, has been modified, becoming at times a map, a schema, a drawing, or a book of pages to be arranged. These breaks in the established order are a result, among others, of the need to articulate differently "time," and "duration" beyond meter, periodicity etc.; they are also the result of a more decisive role played by the player in the performance of the work.

"Mobile" notation is a consequence of these breaks. Regardless of the form which it takes, it uniquely determines a new articulation of time and a new manner of playing. The work of Gilles Tremblay is a remarkable example of this, and I have chosen to study a number of excerpts in order to demonstrate certain problems inherent in the notation of music "en mobile", and to demonstrate the evolution of this notation over close to thirty years. Following this, an extensive analysis of Souffles - Champs II will be presented, exploring details of Tremblay's musical language in relation to his initial conception and usages of the "mobile" notation.

The term "mobile" designates in the vocabulary of twentieth-century music, a part, a group, a phrase, in brief an entity in itself whose place in the work can be fixed or variable and whose constituent elements themselves can also be in a fixed or variable order. There is, therefore, a distinction to be made between a "mobile" as an indication of a part of a group within a work and something which is "en mobile", that is to say all of the elements which make up the mobile itself. Although these two aspects of a single thing have a tendency to be easily confused, we shall see in the excerpts analyzed in this study that there is a basis for this confusion and that this distinction, is found more frequently in the vocabulary and the appended suggestions of the composer.

Two categories of mobiles or "mobile sections" are discerned at the heart of Tremblay's work. In the first category we find mobiles which occupy a fixed place in the work. In the second, we include mobiles whose placement is variable, that is to say the parts, sections, or groups whose order within the work can be permuted. Over a period of thirty years only a few works correspond to this second category; we cite as examples Jeux de Solstices (1974) and finally Traçantes for solo piano (1976). On the other hand, the majority of Tremblay's works are grouped in the first category, whose mobile sections intervene at precise moments and cannot be permuted.

The music of the mobiles (that is the events which constitute them: melodic, rhythmic groups, pitch networks, choices of attacks, dynamics, rests etc.) is itself also subjected to a fixed or variable order. By variable, we mean that all the elements are played in an aleatoric order improvised which Gilles Tremblay himself explains by the indication "en mobile" (this extraneous indication, appears redundantly with the "box" sign used for any passage played "en mobile"); in the opposite case, that of fixed events, it is a matter of a linear reading of the music as "fixed" by the composer in which the order will not be subject to any change (as, for example, in Traçantes for piano).

Paradoxically, the mobiles which occupy a fixed position in the work of Tremblay are the those which involve variable elements (i.e. improvised performance). Those whose order of execution is established by the performer himself according to his whim and imagination (guided at times by the composer's preferences for a certain arrangement) in other words, mobiles whose position is variable, and hence exchanged with other sections or parts are composed of fixed elements. As already mentioned, while Tremblay has only minimally developed the permutable mobile, he has significantly developed the mobile which, at the core of his work in the unfolding of its form, intervenes at specific moments. From Mobiles for violin and piano (1962) to Avec for full orchestra, solo percussion and piano, choir, narrator and soloists (1992), Tremblay has not ceased to develop mobile usage and notation in diverse functions in the general form of the work. Over a period of thirty years, he has used essentially the same system of notation consisting of a only few signs some conventional, some borrowed (from Eloy, Stockhausen, or Boulez) and some original, whose meaning is explained at the beginning of his works. A few of these are discussed above in Figure 1above.

From 1962 to the works written in the 1970's, we see a gradual complication of the notation of mobiles to the point where numerous explanations, even pages of notes and references on the part of the composer are necessary in order to correctly decipher these mobiles. These signs are combined in order to varry or more fully specify the composer's intentions as, by the same token, in a language, certain words or roots of words cohere in order to express a new concept. It is by this combination of signs that mobiles have become more "hermetic" and their performance more literal (i.e. straightforward) for the performers. Since the 1980's and more precisely since Envoi, the concerto for piano, we see a simplification of this notation: the information is more dense and the mobiles more functional, often superimposed upon measured durations.

An example of the combination of the preceding signs is taken from Oralléluiants (Example 1 above) for soprano and instrumental ensemble (1974). This composite sign will be analyzed more fully later, but it illustrates this complexification of notation so characteristic of the works between 1968 and 1980.

Solstice (1971)^{^[1]}: Rehearsal Figure III

Solstices is inspired by the succession of seasons and hours. The work can begin at any of its twelve sections and it unfolds following the manner of the hands of a clock. The hour (of the performance) determines the beginning. The roman numerals indicate the months: the Arabic figures, the hours. From the choice of the hour, the course of events is linear: everything must be played in order up to the return (of the beginning). For example, for a performance at eight o'clock, consulting the schema given by the composer we get the following:

XI-XII-I-II-III-IV-V-VI-VII-VIII-IX-X

Beyond the usual signs in the mobile notation, Tremblay here creates other signs for the articulation of the work.

Figure 2: Additional Mobile Signs Created in Solstice.

The work being entirely written in mobiles, requires (since the composer has specific notions of articulation) an important number of explanatory notes. Seven pages dark with text explain the indispensable rules of the game, and even within the score notes are found affecting all aspects of the performance.

Oralléluiants rehearsal number 14 ‑ psalmody with insertions (at the direction of the

conductor) of rhythmic groups and sustained tones (flute and percussion).

Once more we see the idea of insertion: the music of the instrumentalists being inserted into the psalmody. The vocal part is linear with the exception of the phrase between brackets [ ] which is "en mobile"; in fact this phrase should be inserted freely into the psalmody (the composer specifies up to five times.) The instrumental part of the composite mobile (via combination of signs) was given in Example 1 after our list of mobile notations. Priority is given for quick groups of up to 11 thirty-seconds, intercut with short rests. (Recall that the indication at the base of the triangle indicate preference.) Lower priority choices are given for quick groups of 1 to 6‑7 thirty-seconds, longer rests and "tenuto" notes. At the intervention of the conductor we have games of playing versus silence in the instrumentalists (the rectangle on top of the base of the triangle).

Example 2: Solstices: Rehearsal Figure III

The few brief indication by the composer which specify the use of the instrumentalists' and soprano's mobiles are once more indispensable. As the instrumentalists' music is evolving in a way not entirely independent of the soprano's, it is necessary to explain the way in which the two musics are to join and conicide.

Oralleluiants: rehearsal number 73

In a coda in the form of a long and linear vocalise in the soprano, the ascent is irregular and sustained by the instrumental ensemble. All the parts are "en mobile". The mobile is notated chromatically "to facilitate its comprehension" but this is not the order of progression. For the interpretation of this beautiful moment of the work we quote the composer's directions:

The singer should slowly move toward the high (register), but not systematically. There can by some downward regressions (even long ones) but the general direction is ascending. ....the limit is the highest (note) possible at a dynamic of piano. The impression must be created of being at the threshold of the impossible, but in an prolonged way .....^{^[2]}

With the exception of the notation of the mobile, Tremblay uses only the usual signs of our little lexicon (Figure 1): boxes for each part are associated with the triangles and rectangles indicating preference for dynamics, rests etc. This is a fairly complicated mobile, amply noted, which nevertheless uses a few explanatory notes which are, however, very short. Essentially, everyone plays independently; each part is superimposed upon the other. There is no need to further explain the playing strategies just certain more complicated devices like those "en reflexe" or "at the direction of the conductor" require further detail,

In this mobile, the articulation is simple: all begin simultaneously, play their own part and, at the signal of the soprano, stop playing. What must be safeguarded here is the perfect homogeneity of the timbres of the different parts.

Fleuves for large orchestra (1976)^{^[3]} - rehearsal number 10

The score of Fleuves could, in itself, be the object of a lengthy study. Everything in Tremblay's manner of writing en mobile is found in this score. The present passage presents "a great "litanical moment" (to use Tremblay's words) involving articulation in mobiles and an immense, florid counterpoint on a cantus. The cantus constituted by the "sons guides" ("guide tones", composer's term) indicates and determines the changes in the mobiles. The usual mobile notation is used, but for all of the orchestra (see Example 5). The "sons guides" trace a curve of intensity and duration and the choices of intensity and duration of the "sons guides" determine the choices of other instruments. Certain instruments should follow the "son guide". Others should react in opposition to its intensity. It is a matter here of a "jeu de reflexe" (game of reflex reactions). The cantus constituted by the "sons guides" passes from one instrument to another. and the duration of each note determines the intensity of the mobiles but with a mobile "preference" given for certain instruments (see Figure 3).

Here Tremblay uses the physical durations of the instruments: "breath durations" to determine the duration of each "son‑guide", and resonance durations to determine the reflexes in the piano and metal percussion. The "son‑guide" directs the ensemble and the conductor needs to pay strict attention to the "sons‑guides" since they dictate the intensities and durations (variable parameters) of each mobile.

Example 5: Fleuves rehearsal number 10

Figure 3: "Son guide " mobile in Fleuves for Example 5. Mobile preference for intensity of the

"son guide" (ff ) with a possibility of the opposite dynamic - for violins, trumpets and horns.

Fleuves : rehearsal number 22

From the "son‑guide" we now pass to the "solo‑guide". Here a long solo in the tenor trombone serves as a counterpoint of attacks ("chord‑fanfare" repeated five times in diminuendo with the chord in the woodwinds and strings subjected to glissandi) and insertions of melodic fragments emanating from the trombone solo. Four distinct musics are superimposed:

Music 1: tenor trombone solo ‑ linear

Music 2: fragments of the solo (5 horns, trbn2) ‑ mobile

Music 3: chord‑fanfare five times (low woodwinds, brass, tam‑tam) ‑ linear

Music 4: chord subjected to glissandi (woodwinds and strings) ‑ linear (game of

In reaction to the dynamics of the cymbal reflex or reaction)

The program of this page requires an attentive reading. Musics 2 and 4 are articulated into "en mobile" and "en reflexe " (in reaction) to an audible signal. In either case, these musics do not go together: music 2 is inserted into music 1; music 3 and 4 are superimposed on musics 1 and 2.

It is necessary to take care to detail the "layers" of music in order to distinguish their different articulations. We will also see this type of procedure in Souffles ‑ Champs II where music "en mobile" is superimposed or inserted into a written linear music. The mobile (Music 2) is easily translated:

‑ individual games of the 5 horns and trombone 2

‑ preference to ("A little slower") than that of the solo

‑ preference for the insertion of brief rests between the fragments

‑ choice of dynamics: ad libitum between ff and f

‑ insertions of a fragment mobile (sfz cuivré) within the larger mobile

Example 6: Fleuves rehearsal number 22

The chord subjected to glissandi (Music 4) in reaction to the cymbal of percussion III can be interpreted quite clearly if one reads the explanatory note which follows the chord itself:

‑ woodwinds: react to the dynamics of the cymbal (percussion III)

‑ strings: react to the dynamics of the cymbal (percussion III) with the glissandi above the

written note, then come back to this note

Envoie (1982) concerto for piano and fifteen instruments^{^[4]} rehearsal number 70

After the important complexifications of mobile notation, Envoie effects a return to a more modest usage. Here, the sign is sufficient in itself: no reference to explanatory notes with the exception of the use of "N" signifying a transparent level of resonance, like an echo therefore, in general, ppp. Two musics are involved: music of the horn solo "in tempo" and music of resonances and sustains "en mobile" out of tempo.

The mobiles of Music 2 involve some boxed notes at a preferred dynamic of mf . The sign (zig‑zag) indicates repetition ad libitum up to the end of the horn solo. The indication "DR > ppp " means before playing a new note of the mobile, to allow the preceding note to dissipate according to the "Duration of its Resonance". Superimposed on these duration resonances, are the mobiles of the double bass and the trombones, one note for each. The indications "D.A.; D.S." ("durée archet"; "durée souffle" duration-bow, duration-breath) are used signifying once more that the durations of these notes correspond to the actual durations of the instrument or of the player: (i.e. according to the length of a bow or to the length of the breath of the instrumentalist).

Example 7: Envoi rehearsal number 70

Commentary

It is said of a work "en mobile" that it is an open work. Pousseur quoted by Umberto Eco expresses this is these words "... the open work tends to favor acts of conscious liberty for the performer ..."^{^[5]} which Eco himself takes care to characterize in underlining:

"that it is appropriate to note, for the sake of an equivocal terminology, that if we are going to talk of open 'works' it is by virtue of a convention: we make an abstraction of other acceptances of the work to express a new dialectic between the work and its performer"^{^[6]}

The interpreter is the one who articulates this mobility. He articulates it according to the indications of the composer. If the responsibility up to a certain point returns to the performer to insure the coherence of the work, he should have "in hand" all the information and specification adequate for the performance. This information is translated and is communicated by the notation, that is to say by the signs.

A sign is an indication (from the Latin nota and indicium). It establishes a communication between beings by virtue of a natural relationship or convention: cry, odor, alphabet, siren, lights, sign of the cross ... In communication, the sign (alphabet, numbers, various codes) is qualified by its degree of communication. A convention indicates to us, in principle, that there is a common understanding or interpretation of a sign by a collective group. The more a sign is "understood" by a collective group the more functional it is, that is to say useful for communication which is why it is used.

In contemporary musical notation which oscillates frequently between the conventions and personal codes of each composer, the degree of communication is quite variable. In Tremblay, notation, beyond the traditional conventions, uses few signs. His vocabulary is quite restrained and, as we have stressed, it has remained unchanged for more than thirty years.

In fact, it is not as much the use of mobiles in the works which causes problems but the quantity of information which one finds in certain cases in the mobiles: various playing techniques, various paths, relays, multiple choices, insertions etc.) The composer, in not always using an adequate notation for expressing all the nuances of the articulation of the mobiles, must explain to the performer, to the players or to the conductor what he wants. Thus, via the use of references at the bottom of the page "en mobile", the composer indicates the route to take, the "directions" for the signs or the manners of playing.

Geometric signs (triangle, rectangle, square etc.) in the notation have limited scope. They are simply indications of choice. But the mobile signifies more for Tremblay than a pool of notes or fragments or multiple choices for the performers. The mobile is, in many cases, a stylistic figure, a metaphor which expresses diverse aspects of a single and same idea which pervade the composition of the work, as for example in the many different modes of playing: "combat style", "duel", "in reaction to", "in reflex to", "in dialogue with", "downpour" of notes, "unfolding", "profusion", etc. all terms of the composer in his scores in the guise of directions.

In the coherence of the larger form of the work, it is necessary to pay particular attention to the episodes "en mobile". The interpretation of each one is not enough for a good performance; it is necessary to interpret their placement in the larger form to fully grasp their placement in the unfolding of the work. The mobiles which occupy a fixed place in the work are sculpted by a repetition, the constant return of their absence of meter which in itself produces not only this effect of suspended time but the repetition of events (melodic, rhythmic, punctuations etc.) in connection with the absence of meter. The work opens into another articulation of duration: its mobiles are extensive and detailed pedal points. This is one reason why Tremblay has made such little use of the game of freely ordered pages; he prefers an evolving linear form in which the mobile is a necessity, a moment which has its fixed place, a music which has a definite contour, but also an ever‑changing musical event.

Souffles (Champs II)

The Series

Following from the general scheme of the work is the presentation of its basic material, the series. The serial and melodic form of the mother-series comprises the essential focus of our study and the angle of observation for our analysis of the "First Phase of Growth" of Souffles.

The work is not the fruit of a rigorous, systematic serial structure. It is articulated with flexibility, circulating freely in the reservoir of series which it deploys, most often, in closed circuits. The series is first considered as a tractable, raw material. It crystallizes in the original idea whose movement, its rhythm, it reflects. It is in some way the minimal version of the work, a synthesis of the discourse beneath the discourse, and hence a generating element or "formant". Since the original series is melodic in nature, throughout our study we will see that it generates harmonic domains explosive harmonic domains, its basic material expressing a duality which the composition Souffles explores.

           Figure 4: Original Series of Souffles (Champs II ) and its inversion Each series

            "formant" is transposed onto the next tone of the original series, P(I),

                                        (see the list of series in Figure 5.)

The form of the series is created by a choice of characteristic intervals with preference given to the second and the major sixth. These are articulated not successively, but via overlapping. The first major sixth appears only at the beginning of the second truncation (pitches 7 to 12), with the major seconds at the center of the first truncation. The first truncation is distinguished from the second by the compact presentation of unique intervals in the series: the initial augmented sixth, the augmented fourth, and the two minor thirds of which the second joins the two truncations. The melodic curve of the series thus gradually acquires, in attaining its peak, a certain regularity in the alternation of its dominant intervals. The regularization of intervals however, does not similarly contribute to melodic stability; the important leaps in sixths in contrary motion break up the melodic curve, stretching the culmination into its only succession of major seconds.

Figure 5: Transpositions and Inversions of the Principal Series of Souffles

While ascending movement predominates in the series, descending intervals delimit its ascending movement into three levels (see Figure 6 below). Levels one and three are symmetric in terms of the intervals expressed by their extreme pitches (an augmented ninth) and asymmetric in terms of the number of tones and intervals which constitute their ascending movement. The extremes of level three are an exact transposition (by a perfect fourth) of those of the first level. This encompassing perfect fourth is also the interval defined by the extreme pitches of the second level. The descending major sixth, larger than its precedent (the augmented fourth), links to the foot of the largest ascending movement (F-D) of the series.

The direction of the intervals, grouped by successive levels is summarized in the following schema; the ascending and descending movements are symbolized by arrows:

Cell "b" comprises the first melodic peak of the series giving rise to a leap of a descending augmented fourth. Consecutive to the peak of "b'", is the leap of the descending major 6th. With "A" and the cell "b" of group "B", the material of the series is exposed, the intervals of construction, announced. "A" and cell "b", an ascending movement composed of three progressively smaller intervals, creates a melodic inertia or slowing down. Cell "b" is fixed and limited in register. A quasi-litannical character emerges in the ensemble of melodic gestures created by the cells of group "B" by the fact that the second cell ("b' ") is generated from the first with the aforementioned characteristics.

The scale of tones taken from the original series gives us a symmetrical "formant"^{^[7]} delimited by an augmented ninth. Truncation 2 is the retrograde of truncation 1 in its constituent intervals, but, of course, not in its pitches. The formant is presented as being concentrated at its center, extended or expanded at its extremes.

Figure 8: "Formant" Delineated by Original Series

Group "C" contains two contradictory elements: the leap of a sixth followed by conjunct motion. It acts as a final surge and closing attraction of the discontinuous ascending movement of the series towards its culmination on F# which will be the dominant tone of the "First Phase of Growth" of the work, unique to the spatial and rotational melody, wailed through the "Mobiles of Jubilation" I and II, which will generate the extended melody of the oboe and clarinet. This group comprises, as in group "B", two cells, "c" and "c' " overlapping at a M6. The initial major second of the group, cell "c" follows the dip in the larger descent of the curve from the peak of cell "b". In addition, "c" is delimited by opposing leaps of a M6th and the Eb forms an expressive accent in the larger melodic line.

In its direction to the peak of its melodic curve on the final F# the series is composed of the three ascending movements which we have already observed as "successive stages" (Figure 6 above). It will be valuable in later aspects of our analysis, however, to see that the ternary segmentation can also be absorbed in the following binary segmentation, compressing the line into two large and contrary melodic gestures.

Figure 9: Two- and Three-part Contours in Original Series

Figure 10:Souffles (Champs II) General Scheme

The First Phase of Growth: [1] Formant / Source: Initial Confusion "commencement provisoire"^{^[8]} "breaths"

The First Phrase of Growth presents the rise of full sonority from breath tones in three stages or directional aspects in the emergence of sound:

"commencement provisoire"         - breath alone

"Emergences 1 and 2"                 - breath / full sonority / breath

"Emergence 3"                            - breath / full sonority

"Tout est mélangé à tout, rien ne ressemble à rien, chaque chose ne diffère de

toutes les autres et se confondent même temps avec toutes les autres ..."^{^[9]}

"... un mélange multiplié par le mélange, un désordre sur du désordre ..."^{^[10]}

All the instruments play "en mobile" on the scale-formant derived from P(I) except the doublebass which only appears at the first Emergence. The mobiles are presented as a pitch reservoir for the sound-breaths. Although the playing may be aleatoric, the disorder manifests a will to organization. The nine (potential) mobiles contain the totality of tones of different (but ultimately imperceptible) series emanating from an initial basic series. This mobile is notationally complex in the variety and density of information which the performer must keep track of. Each instrumentalist has an array of notes bracketed in a rectangle (the indication to play "en mobile" in an improvised order) and each rectangle connects by a sign to the larger enclosing all the choices of attacks, dynamics, rests. This information is directed to the performers, the choices being:

c¹ brief sounds or sustained with variable duration (from 1/2 " to 7") and variable

dynamics

c²rhythmic groups combined with the dynamics of the sustained or brief tones

c³ - rhythmic groups in "variable tempo"^{^[11]}

c⁴ - rests: triangular boxes: preference for short silences.

c⁵ - dynamics: triangular box divided by a slash: alternation ad. lib. between "pp" or

"f" with preference for "pp"

c⁶ - complementary information: fulttertongue for the flutes, rapid and unequal fluctuations

in "variable tempo" and rhythmic groups with an example given by the composer

We have in this stage a mobile in which the music is "non-written" (as opposed to that in which the pitches, dynamics, intensities etc. are fixed). The music is "to be done", i.e. to be composed by the instrumentalists themselves according to the directions/multiple choices given by the composer. The mobile is consequently a mobile of information and is in most cases characterized by a density and variety of information (signs, notes, words, figures etc.)

The array of notes for each mobile, their combination, their succession, expresses a closed serial loop (within the interval of the augmented 9th of the formant): P(I) - Inv(X) to which is added the retrogrades and partially the RI (II).

                         Woodwinds      Flute 1           P(I)         12 tones

                                                Flute 2           R(I)         11 tones

                                                Oboe             O(I)         11 tones

                                                Clarinet          I(X)         12 tones

                         Brass              Horn             RI(X)         11 tones

                                               Trumpet 1        I(X)         12 tones

                                               Trombone 1    R(II)           8 tones

                                               Trumpet 2        I(X)         12 tones

                                               Trombone 2    R(II)           7 tones¹²

The ensemble of this mobile is varied according to the choice of the performer. It tends to demonstrate or rather signify the confusion of the moment; for its part, the serial organization in closed loops translates the elemnt of "ordered disorder" to which specific indications of playing techniques are attached. This "organized disorder" is presented as a desire to "direct" the choice of the performer". Contradictorily or complementarily, this clashes with the sign where the performer pushes back the limits fixed by the scale of the sound-breath cluster and plays ad libitm in all tessituras of his instrument.

The Mobiles

Performance directions are all indicated by the large rectangular boxes (see Example 8). Multiple choices of attacks from "chopped sounds" (1/2" - 3/4") to sound-breaths (1/2" to 5/7") are maintained in variable dynamics. Three-way suggestions of tempo marked "moderate" or "fast" or, "variable tempo" are given on one note or more, repeated ad. lib. in sporadic alternations of attacks with silences. These indications themselves are nuanced with a combined alternation of accelerando and rallentando to which are added quick and irregular fluctuations.

The duration/silences and dynamics are given in triangles:

Here priority is fixed around the shortest rests. For intensities, the same geometric form is nuanced with a horizontal mark separating the two intensities to indicate that the performer can go from one to the other ad libitum (all the while according priority to those at the base of the triangle but without intermediary degrees.) The predominant sound-breaths will be pp intercut with very short silences.

Figure 11: Schematic Synopsis of the First Stage of the First Phase of Growth

This "provisional beginning" of the work is suspended between two interpenetrating dimensions, one cancelling the other. Here, schematically, is the result:

The two qualities of "touch" in the percussion arise from the same choice of attacks, intensities, rests and manners of execution of the breath sounds in the winds and the brass. The percussions are distinguished by their timbre exchanges (the imitative games of sonority), a favorite device of Tremblay.

[2] Emergence 1

Emergence 1 involves the ascendance of full sonority and symmetrical return to "breath alone". It involves a double "unveiling" (in canon) of the series derived from the formant: first P(1) in the timbre melody in the woodwinds and brass and second R(1) in the double bass. Also associated with these two diverging presentations of the original series are two durational tempi, one incorporating the other with the total emergence of the timbre melody in P(I) taking place in the second retrograded truncation (tones 12 to 7) of the same series.

There is a homogeneity of material in the initial formant from which the series arises. The emergence is on the fringe of the initial confusion of the work. It is distinguished from it by a dual contrast in its internal structure: that expressed by the opposite directions in the original series. In the appearance of the complete P(1) in a timbral melody in the winds, each of the tones of the melody emerges in the same manner that the "second state" of the work as it emerges from its initial ("breath") state at the indicated pitch then (at the conductor's cue) into the momentary real sound and blurs back to the breath sound. The timing is therefore imprecise from the conductor's cue to when the player colors the indicated tone by his breath alone and the moment when this pitch is perceived as real and thus the twelve tones of P(I) emerge one from the other, from the perceptible fringe and revert in turn to their initial state. Each tone has the same dynamic curve and that same nuance as it is distinguished from the rest (see Figure 11).

In the first "unveiling", the first six tones trace a large, folded zig-zag movement: from the brass on the wings to the right, then to the left, then across the center and returning to its initial point.

Figure 12: "Folded" Spatial Movement for the First Truncation of the Series

The six final tones of the series are passed among the instruments of the central quintet. The spatial movement traced is itself also a folding zig-zag with its points of departure and arrival in Fl1.

Figure 13: Zig-Zag Movement for the Second Truncation of the Series Among the Central Quintet

Here we have more than an alternation, we have, in the visual, stereophonic disposition of the instruments, two distinct acoustic planes in which the first converges toward the second. To these two planes is added a third background plane, that of the R(I) of the double bass thus giving a foreground of P(I) complete in the brass in the foreground (left and right), and in the middleground central wind quintet and a background in the partial R(I) in the double bass^{^[13]} (distinguished acoustically as the only stringed instrument in the ensemble).

In summary P(I) is distributed in the following way:

``

Figure 14: Distribution of P(I) in Emergence I. The brass frame the woodwinds in the visual disposition of the instruments

The second "unveiling" presents R(I) in a timbre melody in a single instrument, the double bass.

Figure 15: Distribution of R(I) in Doublebass in Emergence I and II

Having just seen R(I) in our analysis of P(I) of the timbre melody in the woodwinds and brass in Emergence 1, we see that the complete retrograde of the series encompasses Emergences 1 and 2. One could not, however, proceed otherwise in the richness displayed by this series. The different timbres which comprise it provide a genuine descant to the full and breath-sounds of the Emergences in the harmonics on D, A, E, the emerging full timbres, the double stops on a single string, and the interplay of sul ponticello or modo ordinario. We also note the symmetry of dynamics (that of the first truncation):

P(1) tones               12 - 11 - 10 - 9 - 8 - 7 6   -   1

Double bass            mf   > mp    ───►     mf ───►

└──────────────┘

Truncation 1                   Truncation 2

Figure 16: Dynamic Shading of R(I) in Doublebass in Emergence I and II

[3] Emergence 2

"Emergence 2" involves a return to the initial formant as well as the characteristic playing techniques but with the profile of the sound-breaths of "Emergence 1". The return to the initial formant only affects the woodwinds and brass. As already seen in Figure 15 the continuation of the retrograde of the original series (tones 6 to 1) is in the same character as in [2] in the double bass. The emergence is framed by two interruption/pauses ("suspended time") in double stops in the double bass. The second pause provokes a return of the last two retrograded tones a double stop with the performer's choice of pitch on one of the strings.

The order of tones in the mobiles (fixed pitches) takes the appearance of a retrograde of the scale of the formant. Thus, following the timbre melody of P(I) (complete) in Emergence 1, is the series with its initial formant, retrograded and coinciding with the continuation of R(I) in the doublebass.

Figure 17: Fixed Mobile Pitches in Woodwinds of Emergence 2

Although the same scale is used in all of the mobiles R(1) those in the brass undergo certain elisions:

Trp.   1 and 2 : 12 tones

Horn              : 11 tones

Trb.   1 and 2 : 8 tones

[4] Emergence 3

"Emergence 3" involves a transposed formant (a fifth above).

Figure 18: Transposed Formant of Emergence 3

This scale corresponds to that of the series P(IX), and the regrouping of tones, their succession to that of I(X). The tones are distributed randomly as a resource of pitches and the playing style is aleatoric, as in the mobiles in [1].

Although we note progressive and irregular diminution of durations in each of the Emergences, and Emergence 3 is linked to the initial formant by transposition, Emergence 3 is clearly distinguished by its (non-retrogradable) sound-breath patterns, its restricted playing techniques, and by its limited choice of durations, dynamics and silences:

Example 9: Souffles [2] - [3]

In the doublebass, we find an interesting aspect of the mobiles a succession of harmonics corresponding to the pitches of the formant. This succession is presented as whole fragments of harmonic scales on the given fundamentals of each of the open strings following their natural order of harmonic generation , however, with two omissions: the F#, 13th tone of the harmonic field of A (on the A string) and the C#, 13th tone of the harmonic field of E (on the E string).

These portions of the scale totally reconstitute the transposed formant of Emergence 3. Thus, in retransposing the formant a fifth lower (obtaining the pitches of the initial formant in [1]) we retrace the constituent harmonic scales of the original formant: C,G,D,A.

Figure 19: Comparison of Transposed Formant of "Emergence 3" with original formant.

(Figures in parentheses in the transposed formant indicate omitted tones.)

Continuous and Directional Playing in the Percussion

The percussion skins and metals evolve jointly in relationship to the characteristics of each of the emergences (see Figure 11 above) and figure in the progression and changes from one state to another. In the "Initial Confusion"[1] the percussion skins are "rubbed" and the cymbals and "touched", the former associating in timbre exchanges with the "breath-durations" in a smooth texture. In Emergence 1[2] the skins alone describe movements of rotation associated with those of the timbre melody in the woodwinds and brass. We can note the clarity of these relationships in the notation rendering the signs inseparable. As noted inthe score, the skins play "en reflexe", "each time a tone is born in the winds":

These two types of rotation anticipate the entire period of sound on the revolving F# and its embryonic rotational movement on E in [5].

In Emergence 2: [3] skins and metals are in "choix-reflexe" and rotating movements. The addition of metals is associated with the slight increase in intensity of Emergence 2. The modulation of timbre in Emergence 3 [4] consists of the vibraphone in dampened tones with a double bass bow in timbral imitation of the harmonics of the double bass and a metallic "breath" (ppp trem.) in the large cymbal.

The Second Stage of the First Phase of Growth

The second stage of growth involves the formation of material (of stage 3). It is in two parts (see Synoptic Scheme Figure 5 above).

[5] Stage 2

The ascendance of timbre which instigates spatial movement in the shift to E (anticipating that on F#) in the trumpet and expands to the high register in a staggered layering of sound and an accruing sound mass of 8 tones derived from the transposed formant. It is anacrusic to the first explosive gesture in the piano (itself an expansion into the lower register).

Figure 20a: Spatial Movement of E natural (Spatial Neume) at Beginning of Second Stage

Figure 20b: Embryonic Spatial Movement and Accumulating Sound Mass at Beginning of Stage 2

The rotating E natural also undergoes shifts of dynamic intensity, which mold the sound, infusing a movement and a curve of durations and resulting in a three-part layering of durations: that of the E natural, that of the constituent durations and that of the internal durations of the dynamics. We give as an example the event as it appears in the score and as a second example, its conversion into traditional notation to better "measure" the diverse durational periods.

Figure 21: Synoptic Scheme of Stage 1 and 2 of the Second Phase of Growth

Figure 21a: Durational Layering of E natural at Beginning of Second Stage of Growth

* total duration of E ** constituent durations *** internal durations of dynamics

Figure 21b: conversion into tradition notation 1" = e

Concerning Example 21b, the stasis which could have arisen from the use of the single tone (E) as it is induced from the harmonic and dynamic crescendo of the first part is nowhere in existence here. It is raised here to the dimension of a harmonic span modeled by the dynamics and the spatial movement of the sound. Finally in its spatial movement or in other terms, its spatial "neume",^{^[14]} we notice that the durations of the E natural goes diagonally from point to point, the longest being that in which the sound mass of 8 tones takes form.

The constitution of the sound mass by the staggered accumulation of tones as superimposed above the E natural is held in the clarinet as if the "fixed" tone in this instrument were amplified in its duration up to the erupting climax, the first outburst in the piano. This culmination involves a crescendo in harmony and thickening resonance (large cymbal) and of events echoing the percussion dry attacks in the skins, low African congas, percussion 1; high and medium congas in percussion 2 in the intensities of E natural.

Figure 22: Intervallic Profile of the Sound Mass

In the layering superposition of pitches and timbres, the seconds attacked simultaneously by the trumpets and then the flutes color the sound mass by adding high and extremely high frequencies associated with those increasingly present in the powerful crescendo in the large cymbal. These layers of sound, gradually liberated by the large cymbal (which could be considered in the harmonic and acoustic scheme as an imaginary vibrating fundamental to tones of the chord), reveal the construction of the layering of sounds and the relations of superimposed intervals which is elaborated in this curve of multiple frequencies and projected in the metallic crescendo.

[6] to [10] Part 2 Explosions and Resonances

This section involves "erupting" gestures in the piano in the form of autonomous sound blocs or masses. Their unique function is to project sound in space and to set into vibration and thus "nourish" the contrasting resonant pauses. The second part thus comprises in its general structure:

Piano gestures →   Projection of sound → suspension of sound

↓                              ↓

instant/eruption        → time/resonance

eruptions                 → crystallization

[6] Part 2 Eruptions and Resonances

The Eruptions and Resonances of Part 2 are elaborated in consecutive blocks and identical but formally distinct profiles (gesture plus multiple resonances). The last gesture is at the same time anacrusic and formative for the third phase of the work.

Block 1 gesture plus resonances      [6]

Block 2 gesture plus resonances      [7] [8]

Block 3 gesture plus resonances      [9]

Block 4 gesture resonances omitted    [10]

The material of the blocks is serial but the deployment of tones in each one is not necessarily a product of systematic permutations. A great liberty resides in this deployment, a liberty in which we find traces and analogies with the preceding structures a liberty which is very open to creating sound masses of diverse gestures, linked by numerous harmonic relations (harmonic tones) and by structural affinities in the serial form of groups of sound freely permuted from one gesture to another.

The general tempo is in no way inconsequential. It is nuanced by constant variations of tempo between which pauses (for indicated or approximate durations) are inserted. The working out of resonances, rich in harmonic, timbral, and dynamic contrasts, effectively supports the formal contrast which arises from one block to another. The obvious mobility of the harmonic spans imparts a type of elasticity to the movement, a flexibility which does not negate the progression and directional curve of the second part.

Each of the blocks is characterized by two types of events designated "E" and "R" as: (various) "eruptions" which are always anacrusic to the subsequent accent in an "R" event, and the (also various) "resonances" themselves. To the "E" and "R" events a third even is added from the "E" events which has a similar function events (that of putting the piano strings into vibration) but which is condensed onto itself, taking the form of a held-over cluster-accent fluttertongue and trill (TR) or an isolated, short and dry accent in the piano (x) or a tight and intense anacrusic trill (TR'). We will identify these events by the following letters:

"TR" being the violent accent (fluttertongue, trills)

"x" isolated accents in the piano (short and dry)

"tr" anacrusic trills

Thus the four blocks are presented in the following way:

                                    antecedent consequent

Block 1:            E → R       :       TR → R

Block 2:            E → R       :       x → R

Block 3:            E/TR' → R

Block 4:            E

It can be immediately noted in blocks 1 and 2, the presence of "consequent" groups to the "eruption" groups. Their elimination (blocks 3 and 4) involves a transformation of Eruption 3 (hybrid block) and the elimination of the "R" event from block 4 (the formant of Stage 3 of the first phase of the work).

Block 1

Block 1 could be interpreted in two ways: that is, as an accented appogiatura ending of the powerful crescendo of the first part ([5]) or , at the same time, as an accent/ anacrusic to the extreme low register Bb in the piano from which the third harmonic (F) is taken to be prolonged as an actual tone in the horn in a lengthy pause.

[6] Antecedent "E" Event e = 78

Expanding in the low register and covering the near totality of the piano, this event comes from the harmonic block in the preceding massing of sonority. The four missing tones (part 1), the F-G-F#-C#, are found in the first eruption. These are added to the eight tones of the preceding sound mass. We thus obtain the total chromatic whose serial form is I(X). Its "R" event is a typical working out of resonance in the piano with a harmonic (here the third of Bb) and its prolongation in an actual pitch.

The consequent, event A: e = 72, involves RI(I) (truncation 2, 5 tones) in a screaming ff accent maintained, fluttertongue, in the horn and trombone 2 against a trill in the extreme low register of the piano. Event R involves a dual presentation (R1 and R2) of the succession of tones RI(I) in contrary positions and registers. Again in the same block of tones we see two spans of resonant durations. R1 is an elongated chord consisting of RI(I), truncation 1. Its A4 (as a harmonic) is generated among others by the upper, trilled second, in the piano (event "A") the 5th harmonic of F. R2 (pitches 7 to 1 of RI(I) ) flashes a new positioning of pitches and a change to the high and extreme-high registers in the piano, colored by the doublings in the xylophone and vibraphone. With a decrease of intensities toward the upper register, the chordal response is on the actual tone of the harmonic of R1, the A natural of the first eruption, which, in regaining the extreme upper register traces a large arch whose peak provokes the second eruption.

Block 2

As in the first block, this block is also constituted by an antecedent ("E"+"R") and a consequent ("x"+"R"). This block occurs in the prolongation of the resonances of the "chord-eruption" R2 . The serial form is P(XII) with the omission of the first tone F#. The antecedent at [7], event "E", is a brilliant gesture exclusively in the piano in alternating notes and an accelerando, out of tempo, in the mid and upper registers of the piano. It is an anacrusis to the E flat of the new tempo (e = 78) constructed on pitches 2 to 7 permuted of the above series. Event "R" involves pitches 5 and 4 (E flat and A) of the series in harmonics, coming from the resonances of "E" of the cluster-chord (in lengthened tones) in the low register of the piano which was built on the 5 last tones of the series:

Figure 23: Harmonic Field of Piano Sonority at [7]

The consequent [8] conjoins event "x" in turn conjoined to "R". Its accent and a filtering in the piano are on the same aggregate as the preceding resonance ("R") in timbral exchange, with the accent and filtering (immediate half damping) of the middle tam-tam in percussion 1.

Block 3

This [9] is a hybrid derived from event "TR" and influenced by the anacrusic function of E. The group constituted is the anacrusic trill ("TR' "). Its serial form is RI(II). In the event E/TR': Lively = 156 , "TR' " is built on pitches 12 to 8 inclusive, in irregular rhythmic groups in the piano and vibraphone:

Figure 24: Rhythmic Structure of Anacrusis in Block 3

[10] Block 4

Block 4 consists of event E only, a large anacrusis on the formants of the piano gestures from the third stage, that of the revolving F# in the brass. The block is constructed in two truncations: first from E of Block 2 and second, from P(V). The second truncation is the formant of the piano gestures of Stage 3; its expanse to the low register is simultaneous to the progressive modification of the phrase.

Figure 25: Articulation of Block 3

Example 13: "E" Event of Block 4 in Piano

Third Stage: Life - Movements / "Cries", Climaxes in Four Stages

The "Games of Space" involve two types of event: a continuous event, the revolving pitch F#, in the two trumpets on a rhythmic theme and a discontinuous event in the intense and dry punctuations and interjections in the piano and percussions of the "jeu de reflexes". The rotational movement of the continuous event (pp. 73 - 77) is in variable durations and in an increasing "tempo" (e s = 144 to about 156) on F#, articulated in a cyclic "rhythmic theme" 3 - 2 - 3 - 5 (e s) presented three times. The F# emerges from three sources (horn, trumpets 1 and 2) and the cycle which comprises four durations never comes back to the same point. It closes on the third presentation from which instead of a reprise, there springs the parenthesis ("laughter") preceding the "Mobile of Jubilation", bringing the elements of the revolving-tone sequence and its playing characteristics to a climax. The triple presentation of the rhythmic theme of the rotating F# is articulated in the following way:

Figure 26: Articulation of Rhythmic and Rotation Themes

The durations of the rhythmic theme overlap each other in a seamless chain. They all have the same dynamic curve (< >). A sf cuivré (on the first eighth of each new duration) causes each to stick out and the amplitude of the dynamic curve (whose duration exceeds the actual duration of each element) has a "legato" function, creating a movement, or rather, a continuous trace of F# within the space. The pitch is asserted without interruption and its fluctuation to the trombones and subsequently to the block interjections of the piano and percussion does not disturb its rotations in the horn and trumpets 1 and 2.

The amplitude of the dynamic curves inscribe the turning sound in a double durational cycle: for one part, that of each duration of the theme (3-2-3-5), and for the other, that composed by the total duration of each dynamic curve, shaping and encompassing each actual duration of the theme.

Figure 27: Articulation of Rhythmic Theme and Dynamic Curves

The punctuating discontinuous event is broken up by three interventions of an interjectory block, formally distinct from the block-punctuations. This interjection sets off the shift of the F# to the trombones.

Figure 28: Distribution of Number of Events for Each Block-Punctuation

The punctuating discontinuous event is split up by three intervention of an interjectory block, formally distinct from the block-punctuations. This interjection sets off the shift of the F# to the trombones.

Figure 29: Origin and Construction of Chords and Scales of: "Block Punctuations"

In the "Block-Punctuations" gestures of the piano from Eruption 4 ([10]) are deployed in transposition and permutations (see Figure 29). The permutations and transpositions of the piano gestures involve four chords; about this number of permutations. The normal and retrograde orders are conjoined 1-2-3-4 Ї 4-3-2-1 (Ї indicates "conjoined" i.e the last chord of the normal form is not repeated). This principle is not strict, certain groups are exceptional. We also find other exceptions concerning transpositions. Problems of octaves arise in the use of certain scales. These are therefore eliminated and in all cases replaced by the original scale on A. For each group, an initial term (from 1 to 3) is fixed up to the (possible) depletion of possibilities of permutation with the other three elements.

Figure 30: Permutations and Transpositions of the Piano

Gesture Chords Transpositions omitted on B flat, C, F, E, F#.

Block-Interjections

The "block interjections" consist of three-fold interjections of invariant events, cutting through the iterative hammering gestures of the piano and percussion and provoking the shift of the F# to the trombone. Five characteristic elements are involved:

Figure 31: Construction of Harmonic Block Parenthesis at [15]

The block interjections circumscribe the areas in which the block-punctuations present an irregular increase and decrease in their number of

events whose consistency nevertheless seems to trace certain curves and phrases.

Example 13: Souffles [12]

[15] Parenthesis ' "très vif" - e = 108 - 117 (apx.)

This parenthesis "like a laugh of joy" is linked to the exhilaration of the rotation of the F#. It begins with two ff attacks in the ordinary and Chinese cymbals, respectively in percussion 1 and 2. It is a harmonic and homorhythmic block deriving from the formant of piano gestures, in a transposition on C#:

Initial duration of the repeated A.

The harmonic block is complete at six thirty-seconds.

Figure 32: Rhythmic Articulation of Harmonic Block Parenthesis at [15]

The harmonic block is comprised of two measures: the first group of 7 instruments (fl, ob, cl, hn, trb) m.1 of [15] and the second group of 3 instruments (trp and doublebass) m. 2 of [15]. The scale of tones of this transposition is contracted onto itself. This contraction is prompted by the shift of its extreme-register chords (chords 1 and 2, respectively, chord 1, 8 va bassa and chord 2 8va). Each instrument (i.e. all the brass and the double bass) is assigned one tone. These numbering 10, two tones are necessarily eliminated the central ones of the chords changing register. The harmonic block is constituted in the following way:

Figure 33: Construction of Harmonic Block Parenthesis at [15]

The harmonic block is subdivided into two characteristic phrases. The first is a fixed vertical articulated by two rhythmic cells:

Figure 33: Rhythmic Articulation of Harmonic Block Parenthesis at [15]

The second is a harmonic block transposed upon itself involving a conjunct descending and ascending movement (going

and coming), expressed rhythmically a by two groups of 7x s which we shall designata as "c".

Example 14: Souffles [15] - [16]

For the transposition, each instrument follows the progression of its tones in the following scale.

Figure 34: Formant in "Parenthesis" [15]

The initial tone not being the same for each instrument, the scale will start for each one according to their allocated harmonic block. Here is an example for the woodwinds:

Figure 35: Scale for the Woodwinds in Parenthesis at [15]

A deep stroke of the bass drum ad libitum between rhythmic cell "b" (of phrase 1) and the end of the second phrase triggers the "Mobile of Jubilation I" in the piano and left-side percussion.

[16] Part 2 "Mobile of Jubilation 1"

The "Mobile of Jubilation 1" is the culmination of elements of the sequence of the revolving pitch and its playing characteristics. Deployment and amplification crystalize in entanglements of these elements via the activating-groups giving rise to the "jeux en reflexes". The elements deployed in the mobile are the following:

1) All block-punctuations of the piano, complete mixture with no transformation of material,

except for one minimal addition to the 5th block-punctuation except for one minimal addition

(according to the order of the blocks of part 1)

2) Iterative groups in the percussion; additions of instruments and amplification of certain

rhythmic groups (up to 13 and 21 s, accelerated).

3) Oscillation, circular movements, in a variable tempo of the F# (hrn, tpt 1 and 2) at the

conductor's cue. Spatial "neumes" specified in a schema by the composer.

4) Vacillation of the F# in the trombones.

5a) Mobile groups in the woodwinds, short and dry attacks. The groups derive from

transpositions of the formant of piano gestures.

Transposition onto G, chord 3 - 4 for the flutes. Hybrid transposition: G #3-4, D #3,

G# #1-3, for the oboe and clarinet mobile.

5b) Mobile group in the double bass, on the original formant of the piano gestures: exact

superposition of chords of the scale. All tones except for two out of register (A-B flat).

In a word this mobile is a map. Tremblay develops in it an articulation of the music which is close to him: the "jeu de reflexe". The "jeu de reflexe" signifies that one event causes another. These events are auditory cues: the "ictus" (attack) in the percussion, cluster in the piano.

These groups and games, already present in the block-interjections of the revolving tone, literally articulate the entire mobile as the conductor directs the fluctuating rotations of the F#. The "jeux de reflexe" are presented in the following way:

To the ear, everything is distinct. The "jeux de reflexe" from one instrument to the other are perfectly audible and counterpoint the rotation of the F# in the trumpets and the horn. The same F# attacked in the trombones (sf and molto vibrato while diminishing the intensity of the sound) in reaction to the cluster in the piano is quite clearly articulated. Once more the desired effect is obtained; only the score itself invites a more careful investigation.

The appearance of new signs and once more of references to explanatory notes, the need for a schema for the "F# music" of the trumpets and horns and the use of another sign (an arrow in large characters) for the intervention of the trombones ultimately all these details as they are mixed one with the other reveal that the basic signs for the "en mobile" notation are limited in their application to the complexities of such passages.

[17] to [37] Part 3 Melody of the Oboe and Clarinet

The transformation of the spatial melody on F# into a melody of pitch and timbre is assigned principally to the oboe and clarinet. The melodic line is fragmented or punctuated by "floating" events which support its contour and it is also augmented by short melodic fragments (the heads of the transposed series), and articulated by "blocks of time" (tempo, deployment of materials) in contrast with "suspended time" (inertia, repose).

Two ideas prevail in the outline of the melody and its structure: one, the idea of periodicity expressed by the axes and dominant elements in the course of the line, the other, an idea of perpetual variation. The latter which implies the complete disposition of the melody and of its peripheral events (punctuating groups, fragments) is in a certain way "activated" by the punctuating groups. In addition to sustaining the movement of the melodic line (which similarly has an agogic function), they influence and disturb it. Thus the fragment in question will be modulated by the characteristic elements of these groups in "variations by assimilation".

In this way we have, structurally, the clear evolution of two distinct dimensions: the first, that of the fragmented melody, the second its punctuating groups. We should be specific that although formally distinct, these dimensions are also distinct in their instrumental realizations, in spite of the use in certain cases of common instruments. Another distinction to note is that one simple melodic element prevails, a series of eight tones and its transpositions, although the punctuating groups will break free from it to "utilize", in a few instances, the four remaining of the original series (B-C-C#-D).

As already mentioned, in the serial dimension the melody is constructed on a series of 8 tones, transposed onto itself, and its inversion equally transposed onto itself. These two resources each with its seven transpositions thus constitute the two main components of the melody (see Figure 36).

Figure 36: Series of the Melody of the Oboe and Clarinet

Relations of the Original Series and the Series of the Melody for Oboe and Clarinet

We open a parenthesis here to note certain relations and distinctions with the original series of the work (see Figure 36 below). In their large initial ascending leaps we see a diminished seventh in the series of the oboe and clarinet melody and an augmented 6th in the original series. We see the inscription of a M2 at the peak of the initial ascending movement of each series: E flat-F in the clarinet and oboe melody (its only conjunct movement) and B-C# in the original series. The large disjunct interval following this peak which, with the initial leap, isolates a M2, arises as a M6 in the oboe and clarinet melody series and an X4 in the original series. In their common melodic curve and direction the two series extend toward a culminating point, the last tone, obtained by a distinctive ascending movement. Finally, we note the significant presence in the series of the oboe and clarinet melody of the initial (B flat-G#) of the original series.

series of the oboe                                                          original series

and clarinet melody

                                                Figure 37: Series of the Melody of the Oboe and Clarinet and the Original Series

In terms of differences disjunct movement is preferred In A, thus it is possible to keep a count of the limited number of tones and the rarity of conjunct movement; series A has a more angular appearance than B. "A" is distinguished by 2 groups of 4 tones which characterize (in the proper sense) the melodic profile of the series.

Figure 38: Series of the Melody of the Oboe and Clarinet: Subgroups and Contours

In "a" groups a large ascending, disjunct movement expands from the culminating point, contracting certain intervals: X6 / m6 / m3. We also note the two major leaps covering a 12th from the peak of "a" to the base of "b". Tones 1-3-5-8 summarize the general curve fanning out of the ambitus of the series.

In the deployment of the series of the melody of the oboe and clarinet, after the original form P(I), the order of transpositions is reversed i.e. successively P(VIII), P(VII), P(VI), P(V), P(IV), P(III), P(II) in this type of reading. For each transposed series, the reading is in the normal (left to right) order, then in reverse (right to left) so as to return to the original tone of the next series and so on, zig-zagging one series to the next. The following is an example taken from the beginning of the melody.

Figure 39: Succession of Series at the Beginning of the Melody of the Oboe and Clarinet

"Cuts" and Segmentation of the Melody of the Oboe and the Clarinet

As previously shown, two groups of series derived from the principal series compose the two main parts of the melody. These parts are themselves subdivided in "time blocks" or periods (of phrases) of variation of melodic deployment and variations of movement. Variation of melodic deployment involves the variation by assimilation i.e. via the influence of the punctuating events, and variations of movement reflect the melody's flexibility of tempo about the metronomic unit of 72. Corresponding to the variations by assimilation are those of instrumentation (timbre melody). The varied melodic fragments are thus highlighted, emphasized by an instrumental nuance and are presented as characteristic moments of the "time blocks".

Figure 40: Segmentation of the Melody of the Oboe and Clarinet (S.T. - "Suspended Time")

From one extremity to the other of the two parts, the "time blocks" alternate with the instances of "suspended time" or moments of inertia, or repose in the melodic line on a held note, out of tempo. These "suspended times" which vary from one to another (in pitch and instrumentation) whatever their function, remain unchanged. Given principally to the trombones, they intervene at irregular intervals as punctuating instants.

The melody of the oboe and clarinet is segmented into "blocks of time" and "suspended time". Part I involves closed circuits of P(I), the principal series of 8 tones in the melody and its 7 transpositions in symmetrical cuts but not in proportions. Part II which opens to the "Mobile of Jubilation II" involves I(I) and 7 transpositions. This is summarized in the schematic in Figure 39 above.

Melody and Punctuating Groups

We broach the analysis of the punctuating groups in order to better discern, the transformations of the melody which are consequences of the intervention of these groups. The punctuation event is the antithesis of the melodic event. The dynamism of punctuating events, the sonic nature of their incisive, heavy attacks contrasts with the linear, supple and expressive disposition of the melody. Two types of punctuation and their derivations are found: 1) short and dry punctuations involving pizzicati in the double bass, staccati in the muted trumpets, (unmuted) trumpet, keyboard percussion (marimba, vibraphone, glockenspiel) and attacks and dampened resonances in the metals and 2) punctuations and resonances involving all short punctuating, attacks followed by resonances expressed by the sign _ (in the double bass, metals, keyboard percussion), all the sounds or the lengthened chords set in vibration in the piano, either when they are followed by a dry punctuating event (sound or chord) or when they are in appogiaturas to the same type of event, and, pizzicati in the double bass.

All derivations are conjoined to the punctuations:

Figure 41: Dry and Resonant Punctuations

As mentioned, two types of interventions are found: punctuation events without incidence to the melody, intervening at certain points in the line the case of staccati in the trumpets ([35]) and those influencing the melody contour, breaking it up and inflecting it ([18], [25]). These are two principal aspects of the dynamic role of the punctuating groups those not modifying the melody of the oboe and the clarinet but coloring it by their interventions, and the others constituting genuine variations.

We have called "variation by assimilation" the influence of playing techniques and attacks of a punctuating group on the melodic line. This type of variation is illustrated in [25], first part and [30], second part. These important variations coincide with an increase in tension in the tempo (m.m. = 58 for [25] and m.m. for [30]) about the metronomic unit of the melody (72). We also find between the melodic line and the punctuating events, associations and exchanges i.e. one sound held during a "suspended time" (and in most cases, introduced by a resonance, either in the little tam- tam or in the small or large metal plate cymbal) or equally, a duration growing in the melody associating with the resonances of a preceding metallic punctuation. [35].) However formally distinct, the punctuating groups support the melody by the flexibility of their articulation, their varied instrumentation and hence the important diversity of their timbres. Figure 40 (pp. 110 - 111) summarizes the interaction of the melody of the oboe and clarinet with the punctuating groups and Example 15 (pp. 112-113) presents just the opening passages of this extensive section of the work.

[38] Part 4 Mobile of Jubilation II

As we have seen in our analysis of the melody of the oboe and clarinet, the 7th block of time opens into the second "Mobile of Jubilation". It is triggered by a biting attack in the Chinese cymbal (perc1). A stroke in the large tam-tam (perc2) in response liberates the F# in the woodwinds (ob, clar.) and in the brass (horn and trumpets at the conductor's cue). The F#, the melodic axis, freed from its serial constraints, from any articulated disposition, from metered time, recovers (or reacquires) its original state, triumphant, jumping through holes in space. Its mobility is even greater with no schema of revolving movements to fulfill, as was the case for the first "Mobile of Jubilation."

Independently of any cue of the conductor, an F# oscillates in the trombones in (reflex) response to the cluster group in the piano. A profusion of exclamatory and incisive gestures comprise the mobiles in percussion 1 and 2 and the piano. In the percussion, the number of events in the rhythmic groups (2-3-4-11 s etc.) agrees with those of the gestures in the piano. Here are some examples of these groups; some are unique and others accompanied by their opposites at the heart of the mobile.

Figure 42: Rhythmic Profiles of Percussion Gestures in the "Mobile of Jubilation II"

The piano gestures are static. Although untransposed, they are varied considerably. The chords (the four from the formant) by virtue of their constant return upon themselves, break out in the deployment of their original formant.

` Figure 44: Pitch Content Piano Chords in the "Mobile of Jubilation II"

A partial retrograde of a gesture, a mixture, an embedding of exploding blocks and original blocks such are the characteristics of the variations of the piano gestures.

The interjecting groups, that is to say the groups triggering reflexes to one or the other of the strategies in the trombone, percussion and piano mobiles, are composed in the following order:

Figure 45: Ordering of Interjective Trigger-Events in the "Mobile of Jubilation II"

[39] Seventh Punctuating Group and Seventh "Suspended Time"

The seventh group in succession to those of the melody of the oboe and clarinet marks the end of the second "Mobile of Jubilation". It is also the final point of the triptych which composes stages 2, 3, and 4: the "Mobile of Jubilation I", the "Melody of the Oboe and Clarinet" and the "Mobile of Jubilation II". The seventh group is analogous to that which ended the first mobile of jubilation and which punctuates the emergence of the melody. Here they are, juxtaposed:

Figure 46: Comparison of First and Seventh Punctuating Groups

[40] to [42] Transition in 2 parts

Part 1, [40] [41], consists of development of the rhythmic theme of rotation of the F# ([10]). Stage 2

[42] presents the stream of melody-harmonic blocks from the original series of the work. In Stage 1 we see the rhythmic

development of the theme (3-2-3-5 es) as it is superimposed upon itself in the following manner:

Harmonic Block A' presents a contraction of the block upon itself and a transformation of the rhythmic structure involving the original rhythmic theme (3-2-3-5) common to all the groups (high, medium and low) but modified via various elisions.

Figure 48: Rhythmic Structure of Harmonic Block A'

Subsequent to the modification of the theme into A', an extension, Block E which is formally distinct from block A and A', emerges as a crescendo in intensity and timbre. It is evoked by a short spatial movement on G# from the horn to the other brass (from the right of the foreground to the group to the left) and finally returning to the horn from which Block E emerges via accrual as in the crescendo which opened the second period at [5] from its embryonic spatial movement and accumulating sound mass.

            on resonance of perc1 low cymbal

                                                     Figure 47: Initial Spatial Movement of Block E

Figure 49: Formation of Block E by Combination with Element "b"

The chord streams at [42] in the second part of the transition, are constructed in two blocks taken from the original series and transposed onto the R(I):

Figure 50: Construction of the Chord Stream of the Second Part of Chord Stream

andTransposition onto R(I).

Looking at the extreme tones (highest sound and the lowest, in alternation from one chord to the next) of the first stream we see that Block I is transposed onto the odd-numbered tones (1-3-5) of the high truncation and Block II is transposed onto the even-numbered pairs (8-10-12) of the low truncation. Thus Block I will be projected onto the tones of Block II, and vice-versa. We will have, in alternation from one to the other, the following order of transpositions:

Figure 51: Chord-Stream Projection of Block 1 onto Block II

Thus Block I is transposed onto F# - D - E flat, respectively the high tones of the three following chords:^{^[15]}

and Block II is transposed onto G - B - B flat, respectively, the three lowest tones of the following chords:

The second stream reverses the order of the transpositions of the first stream:

` Figure 52: Transposition Ordering of Chords in Second Chord Stream

and thus the first stream is transposed onto the even-numbered pairs (2-4-6) of the high truncation and the second stream onto the odd-numbered pairs (7-9-11) of the lower truncation, giving:

and in alternation:

Figure 53: Alternation of Block I and II Chords Chord Stream of Transition

Example 16: Melodic Chord Streams at [42]

The Second Phase of Growth

Stage 1: [43] Melodic Profusions and Eruptions

The profusion of melodic fragments appears as an antithesis to the melody of the oboe and clarinet which, despite its numerous fragmentations, its sinewy serial dispositions, its contours altered by peripheral events, remains more or less ordered, its melody resurging more distinctly after each disturbance. The "profusions" also present a decomposed melody. The near totality of the fragments "en mobile" are derivations from a parent fragment: a melisma or a fused group. They are generated much more by a simple division of the parent fragment and in many cases hybrid fragments emanate from the partitioning of a second or a third generating motive. These, like the simple derivations, are subjected to other transformations permutations of the tones in the normal order, retrogradation, rhythmic/durational variations thus distinguishing them from their original form.

This is a simpler mobile, one could say, more conventional. The usual bracketing which encloses the entire mobile is not used. Tremblay limits himself to giving the indication "en mobile" to which he adds "Profusion (Foison) Ia" (there are three of this type: 1a, 1b, 1c). The brace groups all the melodic fragments and indicates the instrumentation. Triangular boxes are for dynamics, rests and tempi. The last box is ambiguous; the triangle includes the indications "contrast/similarity". If we follow the exact definition of the sign this will signify that the performer should give priority to playing contrasting fragments. An asterisk preceding the brace which groups the instrumentation refers us to a note at the bottom of the page where the composer explains his intentions:

Play everything which is in your register; when you have few notes in your register

play very little with long rests between each group*; on the contrary if you have a lot

of notes in your register, play a lot. One is to alternate liberally between the "choice"

and the melodic fragments. The groups should not be played more than two times**

and always separated by at least two other fragments. The conductor gives the entries

at his discretion.*** The beginning of this page is obligatorily a tutti ..."^{^[16]}

Other notes at the bottom of the page give specification for the tempos, the percussionists' choice of instruments, dynamics (these latter indications must have been figured, as in the case for the woods and the brass, near the large brace which reunites all the fragments of the mobile.) The composer does not allow the players and the conductor to "decide" themselves, from the information given in the triangular signs, on the complete articulation of the this mobile; reference to the written explanation is necessary. The entire text which we have cited above could also have been translated by the usual signs with the ambiguous triangle indication of "contrast/similarity" (necessitating the explanatory notes) figured in the following way:

A translation of the sign would give preference to a maximum of contrasts between the fragments. The mark separating the two indications further accentuates the preferred choice. The opposite case, without this mark, will reduce the priority and indicate to the performer that he could alternate ad libitum between these two indications.

Tersely articulated and scintillating eruptions intrude upon the melodic profusions. They are not without recall of the preceding spatial melody on F# (the revolving sound on the rhythmic "theme") to which they are formally related. Like their precedents, they are constituted in two elements: the interjection or eruption, and the pure resonance in which the eruptions are absorbed or dissolved. Thus, the disorder inherent in the eruptions is directed, not toward the organization or reorganization of the melodic discourse but toward what prevails in the melody, the "scream", the "cry". The latter (the tutti in [48]) opens a breach in the work. New worlds surge forth from it. The first aspect of this "new order" (stage 2 of the second phase off the work) are the "dialogues-battles" of the tam-tams and the piano chords. In turn, the different "worlds" (realities) will be interrupted or established by the "screams" ("signal-creams", "scream-breath-durations").

"Profusion 1" a, b, c

"Profusion 1a" involves 15 events over 20" in the fl2, ob, clar, horn (muted), trp 1, 2, Perc 1, 2, pno. It deploys P(I) whose scope is expressed in the gesture below, in multiple fragments / derivations, in a profusion emanating from the rhythmic cells.

` Figure 57: Seminal Gesture of the First Profusion with Resultant Scale Form (Two truncations

of whole-tone scales of which the second is a half-step higher than the first)

"Profusion 1b" consisting of 13 events over 8" to 10" involves fl2, ob, clar, horn (muted), trp 1, 2 and a serial profile of RI(I) permuted in a principal melisma from the preceding profusion.

` Figure 57: Derivation of Parent Fragment of "Profusion 1b"

From these parent fragments, the elaboration of the derivations privileges the first 7 tones of the series. A single appearance is made of tones 8-10-11-12 and the ninth tone is omitted. The pitches are fixed according to the following scale:

Figure 58: Resultant Scale from the Parent Fragments of Profusion 1b

"Profusion 1c" involves 11 events over 12" in fl2, ob, clar, horn (muted), trp 1,2 (Harmon mute) using P(VII) permuted. Here we see a sparsity of gestures, reduced to simple figures and points in an expansion to the upper register. The following scale emerges:

` Example 18: Resultant Scale from the Parent Fragments of "Profusion 1c" with Accompanying Example

Profusion 2a Profusion 2b Predominant figure of Profusion 2c;

Figure 60 : Generating Fragments of Profusions 2a and 2b

The persistence of the dominant figure of 2c as a "porrectus"^{^[17]} pre-figures those of the "eruption".

The second "eruption" which traces RI(XI) adds the metal percussion. In the piano, two figures in opposed registers, are enveloped in resonance (cymbals and large tam-tam). Coincidental with the first figure a span "appogiaturaed" by E natural in the extreme low-register of the piano is the same sound in the xylophone, partitioned in dry and articulate M2nds. The second figure, a "torculus", splits the low register from which the harmonic resonances of the two inversions of the last two chords emerge. At the same instant, the cymbals are dampened, leaving only the tam-tam vibrating. A nucleus of resonance (in the piano and large tam-tam) and extremely high harmonics in the double bass (who plays ad lib. on the E string the same tones colored by the piano) absorb the "eruption".

Example 20: Second Eruption

"Third Profusion" a and b

The entire third melodic "eruption" is missing a mobile. Its second part (3b), with its profusion of 25 melodic fragments, seems to be enriched by this process and the total duration of the two mobiles seems also to compensate for the absence of a third part. The gestures of the latter period recover their original contours: i.e. rhythmic simplification and articulation. The scales of the series tighten from one mobile to another. The instrumentation remains the same with neither omission nor addition. "Profusion 3a" covers a duration of 20-23" in eighteen events involving P(XII) and 3b has a duration of 15-20" over 25 events using RI(X) in a closed loop. The following are the generating fragments and resultant scales for these sections:

` Figure 61: Resultant Scale and Parent Fragments of "Third Profusion"

Similar to the second eruption, the piano gestures of the third eruption coincide with their counterparts in the percussion and double bass, but while similar in their materials (although not in their directions), these elements in this case are mutually opposed. The third eruption is composed of three very contrasting events (the second eruption by two of these, and the first, one) in their contrary directions and their abrupt changes of register. The instrumentation also adds to the effect of contrast in the addition of the wood percussion and skins.

The first interjection is characterized by the contrary directions of its "neumes", the "neumes" of the xylophone being those inverted and detached in the piano:

A mute figure ("clivis'), "sec" pp, absorbs the resonances of the interjection. The second interjection is a gesture in the piano in large intervals, hammering in the low register. Simultaneously in the Chinese block and tom-toms, two characters overlap, and in the pizzicato double bass, we see the tritone which is found inserted in the piano character. The last interjection is constructed on the last five permuted tones of RI(VII). It is in contrary direction and register to the preceding interjection. Its peak is punctuated by the crotale, ff. The same sounds, colored silently in the low register of the piano constitute the pure resonance event in opposition to the aback event of the eruptions.

Example 21: Third Eruption

[48] Clamor

It is perhaps surprising for us to make special note of the "clamor". This is evidence that it belongs neither to the first nor to the second part of the work. On the contrary, it summarizes the first part and brings forth the second. This event is inextricably linked to the two main parts of the work; it fuses them, and without it they would be severed. In the large directional form of Souffles this "clamor" is its center. In consequence to the eruptions of the first stage of the second phase of the work, it presents a melodic decomposition. All the previous erupting events are its progenitors, and following the eruptions which bisect the melodic profusions, no structure is raised or elaborated; only this (despite our best efforts!) unanalyzable "cry" propels the work in new directions, completely opposed to the previous ones. In the most schematic form possible, this can be summarized as:

The probable serial material is RI(VII) in the prolongation of the last interjection, and its resonances (Eruption 3 [47]). The "eruption-event", interjective in nature, is submerged in the "cry-event". The chord is in extremely close position, almost a cluster:

The probable serial material is RI(VII) in the prolongation of the last interjection, and its resonances (Eruptions 3 [47]). The eruption-event, interjective in nature, is submerged in the scream-event. The chord is in extremely close position, almost a cluster:

` Figure 62: Probable Serial Distribution of I(VII) in the "Clamor"

The scale is the following, with some tones in the extreme registers, tones 1 to 12 of I(VII).

` Figure 63: Resultant Scale of the Clamor

Considering the clamor-chord as a cluster, to summarize it as a serial confusion, would appear insufficient. We have approached this from the point of view of scales of harmonic tones. This is the series of (instrumental) harmonic tones obtained when a sonorous body (string on the violin for example) vibrates partially and not over all of its length.

                                      Figure 64 a: Scale of Afalt, Harmonics 8-9-10-11-12-15:

   b: Scale of G, harmonics 9-10-11-12-13 (14-15) 16 (omitted tones F-F#)

   c: Scale on C, harmonics 7 and 9-10-12-16

Via the orientation of the scales in Figure 62 above, if A flat, the first tone of I(VII) taken as the "fundamental" of the scale, C, the twelfth of the same series and G, the third of I(VII), we are able to discover new relationships in the superposition of tones of the clamor-chord and their distribution in the instruments. However, without drawing a hasty conclusion, or speaking of the use and the systematic function of whatever scale in our analysis of the chamor-chord, it seems interesting to note that via the orientation of scales, the positions of the tones express a quite different order, and their relations are "solidified" within it.

Four Aspects of the New Worlds Arising from the "Clamor" which Determine the Second Phase of Growth

[49] Dialogue of the Tam-Tams (Dialogue 1)

Emerging from the resonances of the clamor-chord, the dialogue of the tam-tams (the medium tam-tam in the percussion at the right (perc1) and the large tam-tam at the left (perc2) is superimposed on the chords in the piano which evoke changes in the playing techniques in the dialogues. As indicated in the score, the playing strategies are the following:

1. in dialogue, percussion at the left leads

2. opposite of 1

3. the two play independently and equally

Whereas the games are in mobiles, the order of playing techniques is fixed and it is only on the chord-percussions in the piano that the players pass from one to the other. The chords, six in number, therefore evoke a reprise in the cycle of dialogue strategies. The triangular form of the mobiles indicates the predilection for particular playing characters and for particular materials. The dialogue of the tam-tams is deployed over all the rhythms of the work with a preference for the short iterative groups (from one to five attacks) at fff. We note that the indications "dampen" and "l.v." are written in a square which nuances the game, excluding any preferences of one indication over the other. An alternative to this form is the more even game, mp , with long iterative groups (up to 21 attacks for each rhythmic group).

The piano imitates and exchanges with the metal percussion. Its six chord- percussions in the extreme low register of the instrument come from the melodic/harmonic "colors" of the Transition (part 2, [42]). To recapitulate for clarity, the origin of the chords, the "colors" themselves come from the original series and their transpositions, from one to another, progress in alternation in the following way:

First Stream Second Stream: Third Stream:

inversion of the first retrograde of the first

Figure 65: The Three Chord Streams of the Transition

Finally here is the order for the piano chords during the dialogues:

Figure 65: Order of the Piano Chords in the Dialogue of the Tam-tams

With this irregularity, the order of transpositions from Block II is modified to avoid repetition with the first stream (in which the tones in the extreme registers correspond): the third transposition is taken from Block I as the first transposition of Block II which gives the following order:

Figure 66: Modified Order of Transpositions from Block II

Figure 67: Resultant Derivation from the Transition of the Piano Chords in "Dialogue des Tam-tams"

Recall the lowest tone of Block 1 does not respect (in the 3 streams of the Transition) the original transposition and undergoes a slight modulation (M2 higher). This gesture persists here; the note in parentheses is the new tone, juxtaposed to the original which is not used. The piano chords are presented in this way in alternation, with the odd numbers in close positions and variable, the evens in open positions and fixed:

Figure 68: Registration of Piano Chords from "Dialogue des Tam-tams"

Example 23: Souffles (Champs II) [50]

An interruption signal arises in trp1 for the "dialogues of the metal percussions " a long pedal F natural in "suspended time", ff > mf , the exact dynamic profile of those of the melody in the oboe and clarinet. After the clamor in the first trumpet, we hear that of the second trumpet, on F# (note that the two tones are those omitted from the clamor of [48] which is similar in nature to this event). The breath-duration in trp2 determines, as its nature would indicate, the duration of the profusion of notes "en mobile" in all the winds and in all the brass.

According to the registration of instruments, the mobiles may contain the total chromatic. The tones in fixed registrations accumulate one to the next forming trichords of a M2nd, or larger intervals. The superposition of tones of the mobiles is linked to those of percussion-chords in the piano.

Figure 68: Mobile of the oboe at [50]

[51] Continuation of the "Dialogue of the Tam-tams (Dialogue 2) and 3rd Aspect Hymn

The mobile at [51] presents a variant of [49] ("dialogue, combat/duel of the tam-tams") plus the insertion of a chorale in the brass. In order to weaken the preference of the percussion for short rhythmic groups, Tremblay inclines the triangle a rare if not the only example of this in distinction from the use of a rectangle which signifies "without preference". The reprise of the "dialogue" in the metal percussion is otherwise without modification and in the ensemble, the notation is the same as that of [49]. But this excerpt also brings us back to [16] (the rotations of F#) since in it we find the favorite process of the superposition of independent events. In [49] we had rotations of the F# (at the direction of the conductor) and "musique de reflexes" (piano, percussion woodwinds). The "Hymn" is composed of four phrases in decreasing numbers of chords, emanating from the material of the harmonic/melodic streams and elaborated in the permutations of Block I and II, alternating 2 by 2 on the odd and even tones of the original formant scale of R(I). In this excerpt, the chorale in the muted brass (at the direction of the conductor as indicated by the arrows in large characters) is in reaction to the chords in the piano. The first phrase of the "Hymn" emerges on piano chords 3-4-5-6 in the tempo of the melody of the oboe (72/66) in equal values, pp. Its genesis is presented in Figure 69.

Example 24: Souffles (Champs II) [51]

Figure 69: Genesis of the Piano Chords of [51]

The totality of these transpositions composes a reservoir of chords from which the "Hymn" is elaborated. For each chord used, there is the elision of one note (the "Hymn" is given to the brass, who are five in number). This does not systematically effect a tone and its transpositions which are dependant upon part movements. One phrase does not close a cycle of permutations. The order is the following for the first cycle:

Figure 70: Ordering of First Cycle of Transpositions in the "Hymn" (* chord blocks I and II)

Figure 71: First Cycle of Permutations in the "Hymn"

The first cycle covers the 8 chords or the first phrase of the Hymn ( [51] + the four chords of the beginning of the second phrase ([53]) and is schematized above in Figure 71. The second cycle overlaps the three last chords of the first phrase, the second phrase and the first two chords of phrase 4. The second cycle involves the reversal of the order of transpositions of the first cycle. The new order of Block I is regular the even numbers of the center at the extremes. That of Block II, is irregular, alternating its transpositions between the odd and even numbers. Numbers 3 and 5 of the series 1-11-3-9-5-7 of Block II demand transpositions from the original form of order 4 (retrograde inversion of the percussive chords in the piano). This order, being modified (see Figure 72) therefore disturbs that of the transpositions of Block II.

The transpositions corresponding to numbers 3 and 5 (that is on D and Eb of the scale of R(I) ) are replaced by transpositions on neighboring even numbers (2 and 4). The transposition on F# (1) is eliminated. We obtain the following for the transpositions of the second, irregular cycle:

Figure 72: Second Cycle of Permutations in the "Hymn"

[52] Breath-Durations (Clamor 4) and Mobilechoice 2

On the resonances of the metal (continuation of the dialogue of the tam-tams), in trp1, the second breath-duration on F traces a dynamic curve identical to that of the first duration (ff ---------> mp ). To this is added the mobile "choix-reflexe" and a new scale of tones of fixed registration, common to all the instruments. According to their register, the following (possible) totality comes from the percussive chords of the piano:

Figure 73: Scale of the "Choix-Reflexes" of [52]

The mobiles "choix" and "choix-reflexes" are grouped in the following way:

[53] Continuation of "Hymn" (Phrases 2 and 3 in the brass) and Aspect IV "Metallic Rain"

"Also calm and serene"^{^[18]} the "Hymn" follows underneath the erupting rains of rapid notes, in mobiles in perc1 (xylophone, antique cymbal, Japanese gong) and perc2 (glockenspiel and Chinese gongs). These "rains" of notes, in the extreme high registers of the keyboards are organized in four temporal unfoldings provoked by the chords of the piano. As the composer explains further in his notes to the score, these chords "should interrupt as little as possible the upper raining of notes" (The entire ensemble is articulated by games of reflexes except for the "Hymn" which is completely independent of the playing techniques of the metallic rain.) The xylophone provokes the first unfolding "for a free duration of 2 to 7 seconds after which he gives the direction to one of his partners by a sign and so on" with the following priorities for the playing of each one:

Figure 74: Mobile Preference in [53]

Example 26: Continuation of the "Hymn" and Fourth Aspect - "Metallic Rain" [53]

Mobiles 1 and 2 are constructed on the scale of the original series of the work, the third and fourth on the scale of P(X). The arrangement of notes of mobiles 2 and 4 is realized beginning on the fourth tone of their respective scale (in fixed pitches):

                                               Mobile 4 an exact transposition of Mobile 2.

                                               Mobile 3 an exact transposition of Mobile 1.

                                                               P(I) in a closed loop.

                                              Figure 75: Mobile Scales in [53]

[54] Suspended Time (Fifth Clamor): Mobile 3 and Recall of the Combat of the Tam-tams

A "suspended time" in the trumpet signals an interruption of the "rain of notes"

Figure 76: Trumpet at [54]

The third mobile of indeterminate duration is linked to the preceding mobiles by way of its playing techniques butis distinguished by its use of "choix-reflexes", from one player to the rest of the ensemble ("un à tous") and alternative reflexes between percussionists (game of punctuation recalls of dialogues of the tam-tams) and the elimination of the "duration-breath":

Mobile 1: duration-breath and choice of notes

Mobile 2: duration-breath and binary "choix-reflexes"

Mobile 3: duration-breath omitted and "choix/reflexe" of 1 versus all and

alternative reflexes among the percussionists

One note at the bottom of the page explains the "jeu de reflexe" of one versus all:" the conductor designates an instrumentalist who leads with only one sound; then immediately he designates another. Everyone (in the ensemble) responds." in reflex "to the solo note ...." As for the preceding mobiles of the same family, the indications of intensity and attack are written in a triangle. For the "choix-reflexe" of "one versus all", the "solo tone" ff alternates ad. lib. with pp and for the "solo tone" of the percussionists, an inverse priority is given of mp without alternation ad. lib. with ff.

In the scale of the third mobile (see Figure 77), an increase in intervals begins from a fixed center, B flat, the initial tone of P(I) of the center to the extremes, from right to left:

Figure 77: Interval Size Relative of Central Tone (B flat) in the Scale of the Third Mobile of [54]

[55] Continuation of "Metallic Rain" Continuation and End of "Hymn"

The "rain of notes" continues via the reprise of mobiles 1 and 2 P(I), inverrted against percussive chords 5 and 6 in the piano. The double bass has the first chord of the series, broken in pizzicato mp in reflex with those of the piano.

Figure 78: Mobile Succession in [53] - [55]

The last phrase of the "Hymn" unfolds calmly and evenly in the tempo of the melody of the oboe and clarinet,

[56] Continuation and End of the (Third) "Rain of Notes" Mobile 4 and Clamor 6

Mobile 4 is formed by the accumulation of characteristic elements from preceding mobiles: Clamor 6, incorporated into the mobile in trp1 on the culminating point of the hymn, "choix" in trbn1, trp2 and trb2 (staccato, very short ppp almost breathlike), "choix-reflexes" in flute 2, flute 1 (opposite reflexes to Mobile 2), clar., ob., alternative reflexes between perc2 (vib, Chines blocks, wood drums) and perc1(marimba, 4 cow bells, Chinese blocks, bongos) in fixed order , the double bass with knocking on the instrument body, piano non legato, and the "rain of notes" in the medium register of the instruments (with priority to ppp in alternation with sf ) which triggers a sfz reflex in the others all the notes from C# to B except for G#, the tone of Clamor 6. The scale for the mobile is the following:

→ emergence of the oboe

Figure 79: Mobile Scale of [56]

The emergence of the oboe (sustained C natural) induces the Third Phase of the work the continuation of the oboe melody (without clarinet) and its unification with the spatial melody on F# from which it was born.

The Third Phase of Growth Unifying Memories

The First Recall [57] is of the oboe melody via a brief emergence of the instrument at the very end of the third "Metallic Rain" a brief fragment in free tempo, emanating from the first percussive chord in the piano. The Second Recall [58] is of the rhythmic theme of the spatial melody on F# involving all of the constituent durations (13_) in 13 attacks (7+6) as well as a rotation of D natural held in the oboe (ob-trp2- trp1) shifting to trp2 on the 7th attack. The revolving movement is open; the D does not come back to its point of emergence but has the original dynamic curve of F#

Figure 80: Spatial of Path of the D natural in [58]

The oboe melody at a tempo of 78/66 is a punctuating group prior to the lengthily sustained D natural before it begins to trace its movement in space. The harmonics of the double bass (mingling as an echo with those of the oboe's melodic fragment) are buoyed by the resonances of the metallic percussion (perc1 medium Chinese cymbal and perc2 large metal plate). This last moment of the work is a "suspended time" on D which differs from those of the oboe melody and those of the second phase of the second phase as it is prolonged and punctuated in motion. It is an instant which endures. The work does not end; it is suspended.

This impression of suspension, of held breath derives from the phenomenon of the "suspended time" of the oboe melody being "outside of time" on a fixed pitch, that is in a tempo, therefore, inscribed in a movement, in a direction towards .....

Previously, the rotating movements of sounds had been complete and always in a fairly fast tempo. This time, partial, incomplete, it is in the character of the oboe melody: flexible, moderate, in a mid-nuance mp suspended time in movement.

"Each one of my works discovers its own form", wrote Varèse for whom rhythm was inextricably linked to form, and for whom the concept of rhythm approached that of physics and philosophy:

Rhythm, in music gives to the work not only life, but coherence. It is the element of stability. It has very little to do with cadence which is the regular succession of beats and accents. For example, the rhythm of my works arises from reciprocal effects and simultaneities of independent elements which intervene at predetermined but irregular intervals of time. This further corresponds with the concept of time in physics and philosophy, that is, a succession of opposed, correlative alternative states.^{^[19]}

We find in the play of forms in Gilles Tremblay, parallels to this dynamic conception of rhythm. In a further synoptic summary of Souffles we see an inherent dynamic form in two large directional gestures:

In the two "times" or directional gestures which emerge, one is a consequence of the other. Within each, articulating, shaping it in multiple forms, with or without mobiles, are connecting or opposing "stages". At the heart of each "stage" are constituent parts "emergences", "parentheses", "mobiles of jubilation" in succession or alternation. Or, as is the case in the second stage of the second phase of growth, resurgences and accumulations of its parts: "Dialogue" "Dialogue/Hymn" - "Hymn/Metallic Rain/Chord-Percussions" and (piano) "Dialogues".

Souffles (Champs II) is therefore two forms in motion, dynamic forms, which in their transformations reveal their orientations in whose "mobility" the work" discovers its form".

translation John MacKay

References:

Eco, Umberto L'oeuvre ouverte, Paris, Ed. de Seuil, 1965.

Duchesnay, Gilles Notices in Anthologie de la musique canadienne Radio-Canada International, 1983.

Jankelevitch, Vladimir Le pure et l'impur Paris, Fammarion, 1978.

Tremblay, Gilles Notes in Souffles-Champs II, Paris, Ed. Salabert, 1975

Tremblay, Gilles Notes in Solstices Montreal, Ed. Québec-Musique 1981.

Tremblay, Gilles Notes in Oralléluiants, Montreal: ms. Centre de musique canadienne, 1974.

Tremblay, Gilles Notes in Fleuves , Paris ms. Ed. Salabert, 1976

Radio-Canada International Interview avec M. Kendergi in Anthologie de la musique canadienne 1983.

Tremblay GIlles Anthologie de la musique canadienne, Radio-Canada International, 6 disques, 1983.

^{^[1]} for six instruments: flute, clarinet, horn, doublebass, percussion 1 and 2.

^{^[2]} Composer's directions in the score.

^{^[3]} 4 flutes, 3 oboes, English Horn, 3 clarinets in Bb, bass clarinet, 3 bassoons, contrabassoon, 5 horns, 4 trumpets in C (piccolo trumpet in B flat), 2 tenor trombones, bass trombone, tuba, 4 percussionists, piano harp and string quintet.

^{^[4]} 2 flutes (and piccolo), clarinet in B, bass clarinet, horn, 2 trumpets in C, 2 trombones, 2 violins, double bass, 3 percussionists.

^{^[5]} Umberto Eco L'œuvre ouverte Paris. Ed. du Seuil, 1965, p. 18.

^{^[6]} ibid

^{^[7]} The term "formant" which has no real English equivalent in this context, is borrowed from the original French to refer to the construal of the series into an ascending step-wise successsion of tones (or, very loosely, a "scale") thus reflecting its unique pitch registration. (ed.)

^{^[8]} "provisional beginning" V. Jankévitch, Le pur et l'impur, chap. III no. 3, "Tragédie de la confusion".

Flammarion, 1978, p. 143.

^{^[9]} idem, p. 142 "Everything is mixed with everything, nothing resembles anything, each thing differs from all the others and is confused at the same time with all the others ..."

^{^[10]} idem, p. 142 "...a mixture multiplied by the mixture, disorder upon disorder..."

^{^[11]} Three examples are given by the composer marked :moderate, rapid and variable tempo . Read carefully the caption which indicates that the dynamics (crescendo, decrescendo, the two combined) are associated with the variation of tempo.

[12] The elimination of tones is not systematic. It appears in certain cases that: with the pitches being in fixed registers, some appear out of register as the F# in the RI(X) in the horn, and, that one also would be limited to a certain frequency, timbre and color for the sound-breaths.

^{^[13]} The doublebass is located at the back of the ensemble - see the disposition of the instruments

in Appendix 1.

^{^[14]} "Neume", very likely from Messiaen, is a term with which Tremblay often employs in analyses of his own music signifying a motion or figure.

^{^[15]} The tones in parentheses are those appearing in each transposition but omitted in the music. The melodic movement is enriched by the modification: the lowest tone of the first chord is common with that of Block 2. This modification to Block 1 appears in each harmonic/melodic stream.

^{^[16]} From the composer's (translated) notes to the score. The asterisks in the text are ours: *) This first indication is in contradiction with the triangular sign which accorded a priority to short rests. ** An ambiguous phrase: Tremblay makes mention here of "groups" not being able to be played more than two times but in the preceding phrase he referred to the "free" alternation between melodic "fragments". *** Is there a contradiction here , or, could this be an illustration of what he chooses to call in the last triangle "contrasts/similarity"? See the ensuing commentary on this subject. How much time will be allocated to each instrumentalist for the performance of these fragments?

^{^[17]} Referring to the typical melodic neumes of Gregorian chant, a "porrectus" involves three tones of which the second is the lowest. Similarly a "torculus" involves three tones of which the second is the highest and the "clivis", which appears later in the analysis, is a two-note figure of which the second tone is the lowest. (ed.)

^{^[18]} Composer's notes to the score.

^{^[19]} O. Vivier, Varèse. Ed. du Seuil, Coll. Solfèges, 1973, p. 90 (trans ed.).