4.3.1. Spectral space in Ether
Figure 8. Spectral space in Ether from 00” to 56” [enlarge]
Sound example 3: Ether 00” to 56”
(64) L'espace composé dans l'acousmatique multicanal
Figure 8. Spectral space in Ether from 00” to 56” [enlarge]
Sound example 3: Ether 00” to 56”
(71) La transcription de l’espace spectral dans la figure 8 est une analyse de la première section d’Ether. De manière à illustrer l’occupation de l’espace spectral sur huit canaux pendant 56”, il a été nécessaire de simplifier la représentation des formes sonores et d’en réduire l’échelle. Bien que la transcription de la section présente des hauteurs relatives, les spectromorphologies contenant des spectres harmoniques et induisant des hauteurs déterminées sont représentées par des formes morphologiques plutôt que par des symboles musicaux traditionnels, mais désignées aussi par des noms de hauteurs. Selon mon expérience, les spectres harmoniques peuvent sous-tendre un étalement de l’espace spectral plus large que ne l’auraient suggéré leurs bandes de fréquences. Aussi les sons comprenant des spectres harmoniques sont transcrits selon la perception que l’on en a – souvent avec des formes plus épaisses.
The score of spectral space in Figure 8 is an analysis of this first section of Ether. In order to illustrate the occupancy of spectral space in eight channels of sound over 56”, it was necessary to simplify the representation of the sound-shapes and reduce their scale. Although the pitches conveyed in the section are relative, the spectromorphologies that contain harmonic spectra and convey pitch are depicted with morphological shapes, in lieu of traditional musical symbols, and are labelled with pitch names. In my experience, harmonic spectra can belie a broader swath of spectral space than their frequency bands would appear to impart. Hence, sounds comprising harmonic spectra are scored as they are perceived, often with thicker morphological shapes. (71) For the purpose of analysis, the section is divided into six subsections. Each subsection has a corresponding sound example. The analysis is based on my own poietico-esthesic perception of the section and will serve as the basis for further discussion.
First subsection: 00” to 06”
– Sound example 4: Ether 0” to 6”
Ether begins with a powerful percussion/resonance (sound Ia, in orange). The attack conveys the pitch A3, and the resonance slides upward a perfect fifth (to E4). Although barely audible, a transparent, ‘gaseous’ spectromorphology is also present at the beginning of the piece (sound IIa, in purple). The billowy characteristic of IIa is initially noticeable. However, its pitched quality (G#4) is only unmasked as the percussion/resonance fades away.
Second subsection: 06” to 20”
– Sound example 5: Ether 06” to 20”
In the first part of the second subsection, the percussion/resonance (sound Ia, in orange) dies away. The first soft but brassy sound (pitch B4) appears at 7” (sound Ib, in light blue). It is the first sound in a series of three short, pitched sounds that repeats. Sound Ib is framed in the upper spectral register by a dual inharmonic canopy comprising twin strands of smooth hiss and ‘beady’ hiss (sound IIIa, in light and dark yellow) and in the lower spectral register by a pulsing pedal (sound IIIb, in dark brown) at 8”.
Later in the subsection, a detuned, timbrally opaque, pitched (D4) percussion/resonance can be heard at 9” (sound Ic, in dark green). Sound Ic is a curious spectral amalgamation that conveys the qualities of pitch and inharmonicity, the latter of which can be perceived as ‘muddiness’. The two other pitched components of sound Ib (in light blue, pitches C5 and G#4), can be heard at 10”. This series of three short, pitched sounds repeats in its entirety during the subsection. A second detuned, timbrally opaque, pitched (D4) percussion/resonance (Ic, in dark green) is audible at 16”. However, it is softer, and the incisiveness of its attack is skewed by its ‘bubbling’ internal morphology. Sound Ic almost masks the inception of the rich, brassy, pitched spectromorphology (sound Id, in red) at 16”.
During the last part of the second subsection, the inharmonic, sustained canopy (IIIa, in light and dark yellow) begins to wax and wane in intensity, and can be perceived to ‘drench’ the other sound-shapes in heavy or light ‘showers’ of sonic beads and ‘clouds’ of hiss. Sound IIa (in purple) serves as a spectrally translucent binding element (pitch G#4) by virtue of its gaseous morphology, and the pedal (IIIb, in brown) functions as a spectral ‘floor’.
Third subsection: 20” to 30”
– Sound example 6: Ether 20” to 30”
In the third subsection, the rich, brassy, pitched spectromorphology (Id, in red) becomes prominent, swelling to the foreground at 24”, where it conveys the pitch F3. The three short, pitched sounds (Ib, in light blue) appear, again, at 22” – 23”. The sustained canopy (IIIa, in light and dark yellow) continues to surge, notably at 22” – 24”, and, again, at 29”. Additionally, the sustained, translucent character of sound IIa (in purple) continues to facilitate spectral cohesion, and the low-pitched pedal (IIIb, in brown) begins to pulse. At 29” a pitched (D3) spectromorphological ‘orb’ (sound Ie, in dark blue) is noticeable for its ‘shiny’ quality.
Fourth subsection: 30” to 40”
– Sound example 7: Ether 30” to 40”
One of the most salient attributes of the fourth subsection is the morphological transformation of sound IIa (in purple), which can be perceived to evolve from a pitched, translucent, albeit inert, sound to a rhythmically fragmented, repeated sound. IIa appears in its two forms in the fourth subsection. However, the rhythmically fragmented form is in the perceptual foreground. Sound IIa also can be perceived to die away, briefly, at 34”, after its metamorphosis, and ‘flutter’ back to life at 36”. In another development, the rich, brassy, pitched spectromorphology (sound Id, in red) slowly ebbs away, revealing the spectral gulf between the sustained canopy (IIIa, in light and dark yellow) and the pedal (IIIb, in brown).
Fifth subsection: 40” to 50”
– Sound example 8: Ether 40” to 50”
At 40”, a series of coarse, pitched sounds (G#3, C4, A4, D4, G#4) outlining melodic intervals concludes the overt pitched activity in the section (the series is labelled as sound If, in light green). The last sound in the series, If, conveys a G#4. The conveying of the pitch G#4 by three different sound-shapes in the section sustains and highlights the interval of a Major seventh above the pitch (A3) conveyed by the initial percussion/resonance. Sound If is accompanied by the sustained, inharmonic canopy (IIIa, in light and dark yellow), the pedal (IIIb, in brown), the rhythmically fragmented, pitched sound (IIa, in purple), and a new, pitched spectromorphology (B4), which initially hovers in the background before breaking into a ‘canter’ (sound IIb, in pink).
Sixth subsection: 50” to 56”
– Sound example 9: Ether 50” to 56”
The sixth subsection imparts a sense of energetic decay. The preceding sonic universe has exhausted itself; its components can be perceived to ‘melt’ away in the presence of one remaining audible element, sound IIIa, the high-pitched, dual inharmonic canopy – ether.