23: The Shape of Things

In keeping with my decision to work more intuitively (and remembering the desire to break the tyranny of the barline) I have taken a free approach to rhythm. Nevertheless, a piece must have unity and in Lightfall the durations of 7, 5 and 3 are woven through the work.

(Gustave Dore)

PART ONE
The durations are first stated by the timpani at the very beginning. In bar 1 the timpani plays over the space of three quavers, followed by seven quavers rest. In bar 2 the instrument plays over five quavers followed by five quavers rest. In bar 3 the notes cover seven quavers followed by 3 quavers rest. 3 (7) 5 (5) 7 (3). Because there are rests and the timpanist is directed to let all notes ring naturally the rhythm is not yet apparent to the listener; this is the prototype.

The seven rhythm is clearer at b24-25. The final pitch of b26-28 in the horn is presented first as seven, then as five, then as three.

The woodwinds and cymbals between bars 32 and 137 cycle through 3+3+5, 3+5+3 and 5+3+3; the woodwinds counted in quavers, the percussion in crotchets.

In the same section the two trombones add another of the numbers on to each new phrase. They also introduce a single quaver into the cycle:

b41-2: 7
b47-8: 7+5
b55-7: 7+5+3
b62-7: 7+5+3+1
b68-0: 7+5+3+1+3
b73-6: 7+5+3+1+3+5
etcetera.

The harp operates similarly.

The length of the low strings’ G open fifth is also determined by these numbers, as is the occurrence of the piano and vibraphone triads.

These durations can also be found working randomly in the solo horn of both parts. An arbitrary example in Part One is from bar 85, counting in quavers: 7+5+3+1+3+5+7+5+(5×2), and in Part Two from bar 199: 5+3+3+3+3+7+5+[13]

The almost precise use of these numbers gives Part One a ‘locked in’ feel while their intuitive use gives Part Two an unfettered feel allowing the horn to soar freely over the orchestra’s apparent ‘beat’. I say apparent because the orchestra itself is often governed by these numbers in Part Two.

PART TWO
The piano rhythm at bars 6-34 and the arpeggio figure from bar 35 in the high instruments are both a repetition of 7+5+3. Likewise the longer durations held by the brass from bar 86 and the strings from bar 92 and on throughout the movement. Also the harmonic rhythm in the ‘vamp’ played by the low woodwinds starting at bar 134 (and later Piano bar 141 and basses bar 161) is a cycle of 7+5+3.

The time signatures of the short section between bars 50 and 67 in Part Two are (alternating with 4/4) a wave of 7, 5, 3, 5, 7, 5, 3.

BOTH PARTS
There are many other instances where these numbers are put to use, but there is no point listing them, it is enough to know they exist; besides, life is too short.

Unlike the music of many other composers these numbers do not extend to macro-rhythms, such as the number of bars in a section. It is precisely that sort of cerebral consideration that I have decided to stay away from (see 19: The Heart of the Matter).

By using these rhythmic numbers in both parts, sometimes rigorously, sometimes randomly, a unity is created, bonding the two parts with the same language.