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Rhythm in the Music of Messiaen:
an Algebraic Study and an Application
in the Turangalla Symphony
Julian L. Hook
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98 Music Theory Spectrum
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Rhythm in the Music of Messiaen 99
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100 Music Theory Spectrum
Example 1. An excerpt from the first movement of the Turangalila Symphony, at rehearsal number [12] (octave doublings omitted)
Oboes,
clarinets
(la)
Violins,,
violas
(Ib)
Snare
drum
(Ic)
Chinese
cymbal
(Id)
Tuned
percussion,
low strings
and winds
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Rhythm in the Music of Messiaen 101
Example 1 [continued]
r . nf Jy
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102 Music Theory Spectrum
such as a wood block or snare drum. As the analysis that follows shows, the
14See, for example, Johnson, Messiaen, 82-94; Simundza, "Messiaen's
specified durations, whether actual or conceptual, are usually of considerabl
Rhythmical Organisation," 131-143; and Roger Nichols, Messiaen
importance (London:
in the rhythmic structure.
Oxford University Press, 1975), 42-47. '7Messiaen's use of percussion instruments (see previous note) is partic
1SJohnson (Messiaen, e.g., 93) uses a similar sequence notation to describe
ularly interesting in the case of palindromic rhythms, since such instrumen
rhythms. The remainder of the notations and terms introduced on to
(in contrast the fol-
sustaining instruments such as winds or strings) produce dis
lowing pages are unique to this study (with obvious exceptions such as thesoufnd envelopes, typically consisting of a sharp attac
tinctly asymmetrical
widely used terms retrograde and composite rhythm). followed by a characteristic decay. From an acoustical point of view, ther
16In most cases Messiaen meticulously specifies precise durations for eachrhythm played by a percussion instrument is not palin-
fore, a palindromic
dromic atinstrument
note, even when the note is played by a non-sustaining percussion all.
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Rhythm in the Music of Messiaen 103
This is the rhythm derived from x by multiplying all of the The composite rhythm of two rhythms x and y, den
durations and rests of x by the factor q. For x as above, x * y, is the rhythm heard when x and y are presented
x x 2 = 4 6 8 8 <8>. multaneously; its points of articulation are all the point
articulation of both x and y. If the total durations of the
In general, (x x q,) x q2 = x x (q1 x q2); here rhythms
the first are different, a rest of appropriate length ma
three occurrences of the symbol x represent augmentation
assumed to be concatenated to the end of the shorter rhy
or diminution of rhythms, while the last represents
A rest the
will or-
occur in the composite rhythm only if rests
dinary multiplication of the numbers q, and q2. in both x and y simultaneously. Unlike concatenation, c
The concatenation of two rhythms x and y is position
the rhythm
of rhythms is commutative (x * y = y * x) as w
consisting of all the durations and rests of rhythm x followed((x * y) * z = x * (y * z)); it also obeys
as associative
relation y.
immediately by all the durations and rests of rhythm x *This
x = x.
concatenation will be denoted x y. Thus x is an initial segment
Example 2, from the seventh movement of Turanga
of x y and y a final segment. Exponents will be used to
shows thedenote
composite rhythm occurring when rhythm V
concatenations of a rhythm with itself (that is, presented
repetitions):
simultaneously with its retrograde VIIe. 19 A fe
x2 = x x, x3 = x x x, .... Concatenation is associative but listed in the Appendix are actually comp
the rhythms
not commutative; that is, (x y) z = x (y z), but in general
rhythms already; when several instruments play rhythms
x y is different from y x.18 clearly function together, the composite rhythm can be
If the last duration of x happens to be the samesiderably
as the first
more revealing than any of the individual p
duration of y, then the two rhythms may be joined by
Such is elision,
the case, for example, with rhythm VIIj, show
denoted x o y. An elision of such rhythms differs
Example from
3. a
concatenation only in that the shared value occurs once in theand notations help to clarify the internal
These concepts
former, twice in the latter. Any rhythm may be joined
structure by
of Messiaen's rhythms and various rhythmic inter-
elision with its retrograde. For example, where x = 2 3
relationships. For4example,
4 two of the rhythms in Turangalila
<4>, are
x ? XR = 2 3 4 <4> 4432,
while x XR = 2344 <4> <4> 4432
19Musical notation, as in Example 2, provides an intuitive m
= 2 3 4 4 <8> 4 4 3 2,
calculating a composite rhythm x * y. A more precise algorith
formulated as follows. Let x = xx2 ...x,, and y = YlY2" Y,,n wh
the last equality holding because a two successive rests are
and yi is a single duration or rest. Let z = min{x, y}J; assume that
indistinguishable from a single rest of the same total duration.
to be a rest if both xl and y, are rests and a duration otherwise. T
(It will be noted that x XR and x o xR are always palindromic.)
z = x, or z = y, or both. If z = x < y,, define y)' = y, - z, x
and y' = Y1'Y2 ',Yn If z = y, < x,, define x' = x, - z, x' =
and y' = Y2"-Yn. Finally, if z = x, = y, define x' = x2...x,n and
Then, in every case, x * y = z (x' * y'). This formula reduces th
'8In mathematical terms, the set of all rhythms (of finite duration) under
of the composite rhythm of x and y to the calculation of a comp
the binary operation of concatenation forms a non-commutative semigroup rhythms x' and y' of smaller total duration, and the method may
with identity; the identity element is the "empty rhythm" of total duration 0.
recursively until one of the rhythms is empty.
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104 Music Theory Spectrum
Example 2. The palindromic composite rhythm formed by a rhythm and its retrograde (seventh movement of Turangalila, rehearsal number
[2])
Turkish
cymbal
(Vilc)
n2cf'5 6 9 r --0
5 6 9 11 10
Chinese
cymbal
(Vile)
10 11 9 65
Composite
rhythm - rr r rp r- rrI r r.| - - -t
I I L I 9i L I I p
5 5 19 1 9 15 5
Vif (= 100)
3 Temple
blocks
nr, * I - I '1I -I - -i I
uD 7'.. -- ,10f _.i --i-- i
Maracas ' ' fr f ~'G1 t ~ i - ttr-, 7 Itr1 - '- I I r
Composite
rhythm
2 i 'I I-
-L r --- '-'t I..e-
t I
-.. I
7', r r rI
L J I I
(VIlj)
I I 1 16 1 1 1 15 1 1 1 14 I I 1 13
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Rhythm in the Music of Messiaen 105
(lb) x = 444232 Other properties may be derived from these. For instance,
and (IVb) y = 4 4 4 2 3 2 2 2 2 3 3 3 1 2 3 4suppose
8. that a rhythm x and its retrograde XR are presente
If we define z = 13 = 1 1 1, together, but not beginning at exactly the same time. Sup-
then the rhythms x and y may be described by the equations pose, that is, x z occurs simultaneously with z XR, where z
x = (z x 4) 2 3 2 is a rest; and note that x z and z xR are rhythms of the same
and y = x (z x 2) (z x 3) 12348. total duration. What can be said about the composite rhythm
(x z) * (z XR)? The rules above imply the following chain of
We see thereby that x is an initial segment of y and that the
equalities:
two rhythms contain several segments that are related by
augmentation or diminution.20 ((X Z) * (Z XR))R = (X Z)R * (Z XR)R
The various operations described above relate to each (by the rule (x * Y)R = XR * YR)
other in mathematically predictable ways. The following = (ZR XR) * ((XR)R ZR)
properties are easily verified: (by the rule (x Y)R = YR XR)
= (ZR XR) * (X ZR)
lRl = Ixl
Ix x ql = q x lxl (by the rule (xR)R = x)
= (z XR) * (X z)
lx yl = Ixl + lyi
x kl= k x lxl (because z is a rest, ZR = Z)
Ix * yl = max{lxl, lyl}
= (X Z) * (Z XR) (by commutativity of *)
(x x q)R = XR X q Comparison of the first and last terms shows that the com-
(x Y)R = YR XR (not XR YR !) posite rhythm (x z) * (z XR) is its own retrograde. This
(Xk)R = (XR)k principle-whenever any rhythm is presented together with
(X o Y)R = YR ? XR its own retrograde, the composite rhythm is palindromic,
If lxl = Iyl, then (x * Y)R = XR * YR even if the two do not begin at the same time -is widely used
(x y) x q = (x x q) (y x q) by Messiaen. (See, for instance, Example 2, in which x and
xk x q = (x x q)k XR do begin at the same time.)
(x o y) x q = (x x q) o (y x q)
(x * y) x q = (x x q) * (y x q) GENERATIVE RHYTHMS AND PERIODIC RHYTHMS
If Ix, = lyl and x21= lY21, then
(X1 X2) * (Yl Y2) = (X1 * Y1) (X2 * Y2) Many of Messiaen's rhythms seem to grow from
initial segment by means of some systematic proces
repetition, perhaps, or some form of expansion, con
20Segment y in this illustration, derived from three Indian rhythms, seems
or elaboration. These we shall call generative rhythm
to have been one of Messiaen's favorite patterns. He used it in the Quartet
for the End of Time, Vingt regards sur l'Enfant-Jesus, and several other works,
following discussion provides a framework for study
both before and after Turangaltla. In Turangalila it turns up as rhythms IVb, erative rhythms.
Vc, Vlln, and Xa; in addition, several other rhythms in the work are related Every generative rhythm is constructed from an o
to it in one way or another. ing segment called a seed. A seed can be as simple as
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106 Music Theory Spectrum
duration, or it can be a long string of durations and rests. The The apparently "infinite" nature of rhythms such as x =
seed is propagated to form a longer rhythm by means of rules x xx... raises questions about pattern completion and periodic
of generation, which specify exactly how the seed is to be termination. Messiaen is remarkably abrupt about terminat-
elaborated. By varying the seed and the rules of generation, ing his rhythms; the point at which a rhythm ends generally
an enormous variety of generative rhythms can be produced. seems to be determined not by the rhythm itself but by some
A simple rule of generation would be the literal repetition other element of the music. The four simultaneous characters
of a seed over and over. A bar - designates indefinite rep- in the first movement of Turangalila, for example, all stop
etition:
suddenly at rehearsal number [21]. All four are cut off in
X = xxx....
mid-cycle and three of the four are actually cut off in mid-
duration: the final
(Upper-case letters X, Y, Z designate cycle of x = 2 3 4 4 <4>
generative (la), for instance,
rhythms.)
A rhythm of the form x begins isto truncated
repeat to 2 3 3.after
Such rude a
interruptions
time intervalare typical of
Messiaen's
equal to Ixl, the total duration of x; such procedurea throughout
rhythm the symphony.22
is termed
periodic, and lxl is its period.
There are many periodic rhythms inRHYTHMS
PROGRESSIVE Turangalila, identified
as such in the Appendix. All four of the simultaneous rhyth-
mic characters appearing in Example Messiaen 1 are periodic.
uses many Rhythm
other types of rules of ge
addition
la, for example, is simply x, where x isto exact
the repetition.
segment One
2 of
3 4the4most
<4> discussed previously. Its period is 17 (or
simple progression, 17 h,
in which toofbe
a seed a singl
precise). Because the meter in this section
increased of the
(expanding pieceoris
progression) 2
decreased (c
each new cycle of the segment xprogression)
falls, in by a fixed value at
comparison each repetitio
with the
preceding cycle, one sixteenth note later
increment is 1, the in the measure.
progression is said to be chr
These successive displacements are easily visible in that
analogy with pitch sequences move upward o
Example
1, and exemplify a characteristicby independence
steps of one semitone.23
of For example,
period andrhyth
VIc are
meter that distinguishes Messiaen's the simplerhythms
periodic chromatic expansion
from and
periodic rhythms in other Western
rhythms music. Of the four su-
perimposed periodic rhythms in Example 1, only one (Id) has
(VIb) X = 7 8 9 10 11 ..
a period equal to a whole number of measures, and that
and (Vlc) Y = 48 47 46 45 44 ...
rhythm is characterized by a very long period (240 i, or 30
Thesethat
measures) and many articulations two rhythms
do occur
not simultaneously,
fall onand are continued
strong
beats.21 to the point that the durations in X exceed those in Y. At the
21In many passages of Turangalila the notated meter seems to be nothing 22As Simund&a has pointed out ("Messiaen's Rhythmical Organisation,"
more than a matter of practicality-something for the conductor to beat in 139), this habit of Messiaen's does not correspond with authentic Indian
order to keep the musicians together. Messiaen evidently felt that the system practice, which requires that various rhythms playing jointly must ultimately
of notation he employed in the Quartet for the End of Time, several of whose end together on a beat called the sama.
movements have no time signature, was not feasible in a work for large 23This term chromatic rhythm has been used by Johnson, Simundza, and
orchestra. other writers.
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Rhythm in the Music of Messiaen 107
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108 Music Theory Spectrum
progressions, as opposed to variable-cycle-length progressions The insertions of duration 5, replacing the previous (1 1)
such as VIIg discussed previously.25 segments, are not simple strokes of the wood block, but
All of the progressive rhythms described to this point have rather continuous rolls; after this cycle, the block executes
been strict progressions; that is, the rule by which one cycle one long continuous roll to the end of the movement. The
generates the next is fixed, and one could extend the rhythm five rhythms superimposed in this passage (IXa through IXe)
indefinitely (or at least until some contracting element are constructed on five different seeds, but all five are gen-
reaches 0) by following the same rule. Messiaen also uses free erated using exactly the same freely progressive rules of gen-
progressions, in which the rule changes in some way from one eration just described.
iteration to the next. An example is rhythm IXa, constructed The examples given above include variable-cycle-length
on a long seed of fifteen durations strict progressions (IIa, Xb, and VIIg), fixed-cycle-length
4 5 7 3 2 1 6 17 14 8 9 10 16 12 15 strict progressions (VIIk), and variable-cycle-length free pro-
gressions (IXa through IXe). There is also one example of
whose duration set is not quite fully chromatic. (Thea two
fixed-cycle-length free progression in Turangalila; this is
missing durations, 11 and 13, are emphasized in the concur-
rhythm Via. The seed for this rhythm is a palindromic seg-
rent rhythm IXb.) In the second cycle, a duration ofment
1 is
inserted before each duration in the seed: x = 8 4 2 3 14 7 14 <3> 2 4 8
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Rhythm in the Music of Messiaen 109
when a rule of generation is applied to a seed to create a form x y y x, where x and y are two segments each of
longer segment, which in turn becomes the seed for another duration 27 ,. Neither x nor y is palindromic, and there
rule, used to generate a still larger pattern. The rule described neither is z, considered as a sequence of durations; n
above for the chromatic contraction-expansion rhythm Id theless, z is formed by palindromic arrangement of the
offers a simple example of a recursive construction, built on ments x and y.
the first-order seed x = 17 and then, recursively, the second- Another example of complex recursion is provided
order seed y = 17 16 15 *- 8 7. rhythm VId. The first-order seed for this rhythm is
Several much more complex examples of recursion can be x = 1 1 <3> 2 2 <4> 2 1 1 1 <10>.
found among the rhythms of Turangalila. Rhythm Ic may be
used to illustrate the variety of processes Messiaen uses. A This rhythm is essentially palindromic excepting
first-order seed x = 2 1 1 1 2-a segment that occurs else- if the other rests are subdivided:
where in the symphony as well, for example in rhythm IIId x = 1 1 <1> <2> 2 2 <2> <2> 2 1 1 1 <10>.
-is used to generate four longer segments in a free pro-
gression: As the rhythm unfolds, x is subjected to f
involving repetition and elaboration of the fi
Yl = x 3 x, 1 1:
Y2 = 4x 3 x4,
Y3. = 2 1 24x 3 x4212, x' = 1 1 <3> 22 <4>2 11121 1 1 <10>,
Y4 = 1 1 1 12 4 x393x4 2121111. x" = 1 1 <3> 2 2 <4> 2 11121 1 1 1 1 <3> 22 <4>.
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110 Music Theory Spectrum
concurrent rhythms IIIb, Illc, and IIId all undergo approx- RHYTHM AND PITCH
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Rhythm in the Music of Messiaen 111
Example 4. A rhythm and a dependent chord cycle (eighth movement of Turangalila, beginning of movement)
L d .... .
Bass clarinet,
bassoon,
double bass Irn .ij ij ---I-III j- t
(pizz.) I v v l Vi yKfl II -
(Villa) 8b sempre 10
(5 7 10 7 5) (4 6
-,1~ v 1,
I~ ; L ; t , .'7----,. L:_ . _. :!. I -1 I I I J.
, - -
__ b 0- . -- ! I m-; -- - m iP I
` ,-
U P W -11 r
- ? -- d-'I L JR M
1 ,, ,' 'T
6 4) (3 8 3)
second chord cycle begins in the sixth measure.) Thus each Messiaen usually avoids such situations, preferring cases of
cycle begins on a different chord until thirteen rhythmic cy- clear dependence or independence of rhythm and pitch struc-
cles, or equivalently six chord cycles, have been completed. tures.
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112 Music Theory Spectrum
at [7], two simultaneous rhythmic canons: rhythm VIIg is in its rhythm but also in its pitch-class content, derived from
played by the vibraphone, answered 2. ) later by the glock- the so-called "statue theme"-one of several promine
enspiel, while the piano plays rhythm VIIn, the right hand themes that recur cyclically throughout the symphony. Th
leading the left by 4 ,. (The vibraphone-glockenspiel canon midpoint of this giant palindrome falls two measures after
features a dependent chord cycle, the piano canon an inde- [28]. In fact, since Va was heard in its entirety previous
pendent one.) (from [14] to [20]), the later appearance of Ve simultaneous
Two concurrent progressive rhythms may be called parallel completes an even larger palindrome, 208 measures in lengt
progressions if both are expanding or both are contracting, and centered at [23], whose second half is pitched a semiton
and contrary progressions if one expands while the other higher than the first; rhythm Vb and its retrograde Vd follo
contracts. There are many examples of such progressions in this pattern as well.
Turangalila. Rhythms IIa, IIb, and IIc are all basically ex- The duration sets of concurrent rhythms are occasionally
panding, so the passage in which they occur may be con- of interest. Rhythms IXa and IXe are free progressions o
sidered a three-part parallel progression. The simple chro- seeds with the same duration sets; in fact, one seed can b
matic expansion and contraction rhythms VIb and VIc, obtained from the other simply by interchanging two larg
discussed previously, provide a straightforward example of asegments. A similar relationship holds between IXb and IXd
contrary progression; a similar relationship exists between the
Taken together, rhythms IXa through IXe have a fully chr
simple expansion rhythm VIlh and its retrograde Vllm. The matic duration set, including every duration from 1 to 17.2
rhythm VIIj, presented concurrently with both Vllh and An even more rigorous construction of a chromatic duratio
Vllm, is a non-simple chromatic contraction rhythm running set may be found in rhythms Vlla, VIIb, and VIlc; the seeds
in parallel progression to VIIm and in contrary progression of these three periodic rhythms include among them every
to VIIh. duration from 1 to 16 exactly once. Such a systematic inclusio
Rhythms VIIh and VIIm comprise only one of several of every duration while avoiding repetitions is reminiscent o
examples in Turangalila of rhythms combined with their ret-the use of the twelve pitch classes in twelve-tone music; in-
rogrades. Such a situation actually indicates quite a close
deed, this passage has been called "Messiaen's first use of
relationship: a periodic rhythm and its retrograde have the rhythmic series."28 Messiaen often had little sympathy for
same period, of course, and as shown previously the com-
posite rhythm is palindromic. Rhythms VIIa through VIIf are
three periodic rhythms and their retrogrades; the composite
of these six rhythms is both periodic and palindromic, al-
though its theoretical period of 17,220 . far exceeds the
length of the movement. 27The relationships among the seeds of these five rhythms may be de
A large-scale palindrome is realized between rehearsal
scribed explicitly by defining x = 4 5 7 3 2 1 6 17 14, y = 8 9 10 16 12 15
numbers [25] and [32] in the fifth movement. Here rhythmand z = 11 13; then the seeds are (IXa) x y, (IXb) <7> Z3 <11> XR, (IX
<1> YR <1> YR, (IXd) <11> XR <7> z3, and (IXe) y x. Segments x, y, an
Va (itself an elaborate progressive composite rhythm with
z together contain each duration from 1 to 17 exactly once, but these segmen
palindromic segments) unfolds in opposition to its retrogradedo not occur with equal frequency in the seeds.
Ve, creating a 76-measure span that is palindromic not only 28Johnson, Messiaen, 94.
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Rhythm in the Music of Messiaen 113
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114 Music Theory Spectrum
need to figure out all the chords of classical music. That's reserved ABSTRACT
for harmony professors and professional composers. The moment A system of algebraic terminology and notation is in
[listeners] receive a shock, realize that it's beautiful, that the music study "rhythmic characters" in the music of Olivier
touches them, the goal is achieved!32 concepts developed include generative, periodic, prog
recursive rhythms. Fifty rhythms from Messiaen's Tur
phony are classified using these concepts. Interactions of
32Messiaen, Music and Color, 83. pitch, and of rhythms with each other, are also studi
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Rhythm in the Music of Messiaen 115
I. Introduction
Ia [12]-[21]: ob., c. angl., cl., 2 3 4 4 <4> Periodic Indian rhythm of 4 durations + 1 rest. Pe-
b. cl. riod 17 ,. Independent cycle of 14 chords. Rhythm-
pitch complex repeats with period 119 ,.
Ib [12]-[21]: vn. 2, vla. 444232 Periodic Indian-derived rhythm of 6 durations. Pe-
riod 19 ,. Independent cycle of 13 chords. Rhythm-
pitch complex repeats with period 247 h.
Ic [12]-[21]: snare dr. (2 1 11 2 3 2 111 2) (4 Periodic repetition of a recursive progression of 72
2 1 1 1 2 ... durations in 4 freely expanding palindromic seg-
ments. Period 132 ,.
Id [12]-[21]: Chinese cym. (17 16 ... 8 7 8 ... 16) Simple chromatic contraction-expansion rhythm.
(17 16 ... peats in segments of 20 durations with period
II. Chant d'amour 1
IIa [0]-[3]: vn. 1 & 2. <2> 3 5 8 9 11 14 ... IIa, b, c are non-simple, strict expansion rhythms
IIb [0]-[3]: high ww. <2> 4 7 11 13 16 20 ... generated from a common seed by similar rules of
IIc [0]-[3]: low str. & winds. <2> 5 9 14 17 21 26 ... generation (a strict progression relates the three
rules).
III. Turangalila 1
Ilia [2]-[4]: bsn., trb., db.; (2 4 3 6 2 4 2 3 <1>) Essentially a palindromic arrangement of 4 non-
(3 3 3
[9]-[13]: low str. & winds. 3 2 7 5 <1>) palindromic segments comprising 31 durations + 3
(3 3 3 3 2 7 5 <1>) rests. Total duration 108 1. Repeats periodically at
(2 4 3 3 3 2 4 2 4) [9]-[13], with a rest of duration 10 , occurring be-
tween cycles.
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116 Music Theory Spectrum
IIIb [6]-[13]: maracas. (<8> 8 8) (<8> <1> 7 Illb, IlIc are non-simple chromatic expansion-
7 <1>) (<8> <2> 6 6 contraction rhythms in contrary progression. Essen-
<2>) ... tially fixed-cycle-length strict progressions, but cycle
IIIc [6]-[13]: bass dr. (<8> <8> <8>) (<7> length changes from 24 , to 26 near [9] and back
1 1 <7> <8>) (<6> 2 2 to 24 h near [12]; also one further irregularity in
<6> <8>) ... each rhythm (27 , missing before [10]).
IIId [6]-[13]: wd. blk. 2 111 2 <16> Palindromic rhythm of 5 durations (the seed for Ic),
repeating with intervening rests in period 23 ,;
period changes to 27 , at [9] and back to 23 , at
[12].
IIIe [9]-[13]: susp. cym., 8 <17> 8 <19> 8 <21> Apparently periodic rhythm (second cycle is not
chimes, hn. 8 <29> quite completed) of period 118 , consisting of con-
stant durations interspersed with periodically varying
rests.
IVd [2]-[5], [11]-[16]: snare dr. (2 111 2 3 2 1 1 12) (4 Same as Ic. Period 132 ,.
21112...
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Rhythm in the Music of Messiaen 117
VII. Turangalila 2
VIla [2]-[3], [12]-[13]: trgl. 15 13 3 4 Periodic rhythm of 4 durations. Period 35 .h. Com-
bined duration set of Vila, b, c is fully chromatic,
containing all durations from 1 to 16.
VlIb [2]-[3], [12]-[13]: wd. blk. 12 14 1 2 7 8 16 Periodic rhythm of 7 durations. Period 60 h.
VIIc [2]-[3], [12]-[13]: Turkish 5 6 9 11 10 Periodic rhythm of 5 durations. Period 41 ,.
cym.
Vld [2]-[3], [12]-[13]: maracas. 4 3 13 15 Retrograde of Vila.
Vile [2]-[3], [12]-[13]: Chinese 10 11 9 6 5 Retrograde of VIIc.
cym.
VIIf [2]-[3], [12]-[13]: bass dr. 16 8 7 2 1 14 12 Retrograde of VIlb.
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118 Music Theory Spectrum
IX. Turangalila 3
IXa [2]-[13]: wd. blk.; [5]-[13]: (4 5 7 3 2 1 6 17 14) (8 Variable-cycle-length
9 free progression on a seed of 15
vn. 1. 10 16 12 15) ... durations with an almost fully chromatic-duration set.
Independent cycle of 13 chords in violins. Combined
duration set of IXa, b, c, d, e is fully chromatic,
containing all durations from 1 to 17.
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Rhythm in the Music of Messiaen 119
IXb [2]-[13]: susp. cym.; <7> (11 13 11 13 11 13) Variable-cycle-length free progression (same progre
[5]-[13]: vn. 2. <11> (14 17 6 1 2 3 7 5 sion rules as IXa) on a seed of 15 durations + 2
4)... rests, of which the final 9 durations form the retr
grade of an initial segment of IXa. Independent c
of 10 chords in violins.
IXc [2]-[13]: maracas; [5]-[13]: <1> (15 12 16 10 9 8) Variable-cycle-length free progression (same progres-
via. <1> (15 12 16 10 9 8) sion rules as IXa) on a seed consisting of two identi-
cal segments of 6 durations + 1 rest, of which the
durations form the retrograde of a final segment of
IXa. Independent cycle of 9 chords in violas.
IXd [2]-[13]: tamb.; [5]-[13]: <11> (14 17 6 1 2 3 7 5 Variable-cycle-length free progression (same progres-
vc. 4) <7> (11 13 11 13 11 sion rules as IXa) on a seed derived from that of
13) ... IXb by interchanging two segments. Independent cy-
cle of 14 chords in cellos. An irregularity in the mea-
sure before [5] delays the remainder of the rhythm
by 1.
IXe [2]-[13]: tam-tam; [5]-[13]:
(8 9 10 16 12 15) (457 Variable-cycle-length free progression (same progre
db. 3 2 1 6 1714) ... sion rules as IXa) on a seed derived from that of
IXa by interchanging two segments. Independent cy
cle of 8 chords in basses.
X. Final
Xa 4442322223331
[0]-[3], [24]-[27]: wd. blk., Same as IVb. Period 52 ,. Also occurs in inter-
Turkish cym. 2348 rupted fragments at many other times in this move-
ment.
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120 Music Theory Spectrum
Xd [19]-[27]: snare dr. (17 3 2) (17 4 3 2) (17 5 4 Variable-cycle-length non-simple chromatic strict pro-
3 2) ... gression on a seed related to Xc. Two slight irregu-
larities (3 mm. before [20] and 3 mm. before [2
may indicate ties missing in the score. Foreshad
in fragments appearing earlier in the movement
(starting after [6]).
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