When pitch-set 3-5(016) emerges about halfway through Garden Rain as the principal foreground, melodic line, it does so remarkably unabruptly to initiate the work's first climax. Although formal boundaries are in fact attenuated at this point by chordal connections (Z-related sets) and local projections of 3-5, we are drawn more to 3-5's smooth entry into a premier position as a result of its continuous and embedded presence in the preceding section of music. This paper will examine the opening of Garden Rain to illustrate the systematic yet not mechanical thoroughness of Takemitsu's pitch organization that provides a wealth of musical ideas projected clearly and simultaneously within a gradually evolving structure.
On the surface, the opening section of Garden Rain appears as a simple, homophonic texture with chords moving slowly in independent pairs, well separated by substantial moments of silence. Upon closer examination, however, the chordal pairing and voice leading are generated in part by three sets (3-5, 4-9(0167) and a two-note step motive), all of which are interrelated, derived from a common octatonic source and compete for our attention. Furthermore, these sets along with 4-8(0156) are part of a gestural process that highlights resolution of pitches foreign to an octatonic set into the octatonic set by linear motion, a process that is repeated and varied from chordal pair to pair. Ultimately, the large-scale form of this opening section, complete with resolution, is articulated by an additive process and aspects that reflect the organization found within the chordal pair.
It is in Takemitsu's rhythmic flexibility (proportional notation) and unassertive manner (very soft, unabrupt gestures) that Garden Rain flows with a certain Zen spontaneity and tranquility. In fact, one may propose, albeit with caution, that the individually articulated chordal pairs are like well-placed stones in a Japanese garden that regulate the pacing and direction of our experiences. Such an analogy may be inferred from the aforementioned musical organization, a haiku printed on page one of the score, and general statements by Takemitsu himself that draw parallels between the garden and his musical inspiration.
Bruce Reiprich is currently an associate professor at Wilkes University where he teaches music theory and composition and directs the contemporary music ensemble. His research dealing with the music of Gyorgy Ligeti has been presented to the American Musicological Society and published by Perspectives of New Music. His own music has been heard abroad with performances in London and Cambridge and throughout the United States. Presently, he is composing a chamber work to accompany Japanese Butoh, and a piano piece commissioned by Barry Hannigan.
When set 3-5 (016) emerges about halfway through Toru Takemitsu's Garden Rain(2) as the principal, foreground melodic line, it does so remarkably unabruptly to initiate a new formal division and the work's first major climax (Ex. 1, group 2, trombones I-II). Although two preparatory melodic appearances of 3-5 occur moments earlier,(3) we are drawn more to this set's smooth entry into a premier position as a result of its continuous and embedded presence in the preceding section of music. This opening section of Garden Rain, that is, the first ten pages of the score,(4) illustrates the systematic yet not mechanical thoroughness of Takemitsu's pitch organization that provides a wealth of musical ideas projected clearly and simultaneously within a gradually evolving structure.
As shown in Ex.2, the opening of Garden Rain is notated with square, open noteheads to represent long-held values; round, open noteheads as subdivisions of the former; and round, solid noteheads as notes of brief duration. Numbers placed in squares above the score determine tempo by indicating the approximate duration of the longest (that is square) note values, as well as rests. Since this section is to be played as slowly as possible, the time value of each numbered square is relative to all other squares, with the numbers signifying time paced slower than the clocked second, the extent being determined by the performer's ability to control breath. The brass ensemble is divided into two groups with the first seated directly in front of the second, a division that allows for maximal blend as well as changing aural perspective (Ex.3).
On the surface, the opening of Garden Rain is a simple, homophonic texture with chords moving slowly in independent pairs (henceforth referred to as chordal pairs), well separated by substantial moments of silence (return to Ex.2).(5) As the chordal movement unfolds, attention is immediately drawn not only to vertical sonority, but also to the linear movement of each instrument, and particularly to those parts that change independently of the ensemble. Note in Ex.2, for instance, the attention garnered by trumpet I as it rhythmically anticipates with a crescendo the rest of the ensemble, and the attention absorbed by both trumpets in the next chordal pair as the second pitch of trumpet II, B, is independently highlighted dynamically following all other ensemble changes to connect with its own preceding C and the dynamically independent C in trumpet I. Furthermore, as these independently articulated lines, as well as the outermost parts of the opening chordal pair, project the interval of a minor second, birth is given to a step-motive (later to be identified with a major second as well) that will permeate the linear foreground of the entire section of music.
Yet the step-motive is not an isolated event. Most often it is, in total or in part, participating in the subtle isolation of that set which will become a point of primary focus later in the piece, namely set 3-5 (016). In Ex.4, the step-motive's appearances in the opening trumpet lines combined with ensemble, registral separation from the low notes of the tube draw attention to multiple manifestations of set 3-5; manifestations that are aurally initiated by the dynamic crescendo and rhythmic independence of trumpet I. In the chordal pair that follows, the step-motive between the trumpets --along with, once again, ensemble registral separation from the lowest instrument (now the trombone)--bring together in an isolated register all parts in the projection of 3-5. In a somewhat different fashion, the step-motive predominately as a major second with or without octave displacement in chordal pair V accompanies a particularly fascinating symmetrical deployment of 3-5 as all parts change simultaneously (Ex.5).
Furthermore, independent rhythmic and/or dynamic changes coloring and activating chordal movement are not only instrumental in the projection of the step-motive, they also highlight set 3-5.(6) That is, each independently articulated note (when not involved in simple doubling) serves a crucial function by almost always completing the step-motive, and by usually completing one, and only one, presentation of set 3-5. As illustrated in Ex.4, for instance, the dynamic independence of trumpet II during the final moments of the second chordal pair is linked to the only possible formation of 3-5 in this pair. Within the fourth chordal pair, only two forms of 3-5 are present, with each completed in turn by the only moving parts.
Investigation of the total pitch-class content of each chordal pair reveals the influence of two forms of the octatonic set --a collection that is predominate in the music of Takemitsu in general(7) --and one which includes among its subsets both the step-motive and 3-5 (Ex.6). In addition, chordal pairs usually use only one octatonic form at a time. From this structure, a fundamental process arises whereby a single pitch foreign to the octatonic set is included within the first chord of the pair and is then resolved upon chord change into the octatonic set, frequently by descending linear motion of a minor or major second in a single voice. Because this linear form of resolution (as well as its displacement by the octave) is usually accomplished by an independently articulated or moving part, the resolution is emphasized aurally and almost always is drawn into a projection of set 3-5. As shown in Ex.4, the C-sharp found in trumpet I in the opening chordal pair is the only pitch of the pair that is not a member of octatonic II. As the C-sharp resolves linearly into the second chord and the prevailing octatonic set, its dynamic crescendo and rhythmic independence simultaneously pinpoint the step-motive and set 3-5. Immediately thereafter in chordal pair II, the foreign B-flat found in the horn is also resolved, but not linearly in the horn. Rather, resolution is freely absorbed within the following chord by octave displacement of a major (trumpet I) or minor (trumpet II) second. Moments later within chordal pair IV, independent movement and dynamic crescendo in trumpet I highlight resolution of a foreign C into octatonic I by linear motion.
In those instances where foreign pitches are not resolved within the pair, the following pair either presents a new octatonic set, so that the foreign pitch may be resolved prominently within the next pair. In Ex.7, the foreign G in trumpet II of group 2 is ultimately resolved in the next chordal pair by the F in trumpet I of group I. Since these pitches are the highest of each chord involved and the two chords are dovetailed, the resolution is heard prominently. It is also important to note in the opening chordal pair, as shown in Ex.8, that the foreign C-sharp in trumpet I is the only pitch in that registrally defined part of the pair that does not belong to set 4-9 (0167), an octatonic subset that is created by interlocking two forms of 3-5 related by inversion (Ex. 9).(8) On the other hand, however, the C-sharp completes set 4-8 (0156), another set registrally defined (Ex.8) and created by the interlocking of two forms of inversionally related 3-5 (Ex. 9). As will be seen, both sets 4-8 and 4-9 retain significance beyond this point.
Finally, the sense of resolution is heightened by the rhythmic flow defined by chordal pair succession: since a chord of shorter duration is almost always followed by a chord of longer duration, and in those instances where chordal pairs are stated in succession without intervening silence and where the first pair is collectively of a shorter duration than the second pair, the impression imparted is that of a gently rhythmic upbeat followed by an agogic, downbeat resolution. Chordal pair succession and duration are summarized in Ex.10.
Were attention focused only upon operations within isolated, chordal pairs, Garden Rain might fall prey to a lack of continuity. On the contrary, Takemitsu's pronounced concern for large-scale form directs the listener to consider relationships over longer time spans. As the work unfolds as an alternation between areas devoted to octatonic II and octatonic I, various chordal pairs are subjected to transformation, repetition and return. As shown in Ex.11, 12 and 13, the opening octatonic II area contains three separate, chordal pairs, the second two pairs of which are related to the first by transformation. Considering chord succession in Ex.11, the second pair first states set 3-6 (024), a subset of the first chord of the opening pair, followed by 4-Z15 (0146), a set Z-related to the second chord of the previous pair. In addition, 3-5 is isolated registrally by the top three voices of the final chord of each pair. Like the first chordal pair, the third pair begins with 4-22 (0247) (Ex.12). And although inverted, this new appearance of 4-22 still shares three pitches in common with the original, isolates C-sharp in the trumpet as the pitch foreign to the octatonic foundation, and resolves that C-sharp, though now with octave displacement and color change, to a C emphasized dynamically. Furthermore, trumpet I as the highest line still delivers the F-sharp to F step-motive that appeared in trumpet II within the first chordal pair. In fact, the entire pitch-class content of this third chordal pair, set 8-Z29 (01235679), which marks the end of the first large octatonic II area, is the complement of the chord that marked the end of the first pair, namely 4-Z29 (0137).
Strategically placed reappearances of chordal pairs I and IV also help to direct the listener beyond individual chordal pairs to highlight the subsection structure which divides pages 1-10 as follows:
SUBSECTION I: Page 1 to the last entrance of page 3.
II: The last entrance of page 3 to the middle of page
6 (group 1's entrance at duration 6).
III: The middle of page 6 to the middle of page 8 at duration 5.
IV: The middle of page 8 to the end of page 10.For instance, as illustrated in Ex.13 and 14, the beginning of subsection II is in part defined by the first return of 4-22 (0247) and 4-Z29 (0137) of chordal pair I at precisely their original pitch level --now, however, as subsets of 5-34 (02469) and 5-25 (02358), respectively. Furthermore, 5-34 here also contains the untransposed form of 4-22 sounded as the first member of chordal pair III. Subsection III (Ex. 13) is marked not only by a return to the opening two pairs, though transposed, but also by return of the chordal pairs that ended subsection I to create a clear recapitulation. Moreover, levels of transposition chosen produce a large-scale composing out of the step-motive: the first transposition of chordal pair IV, occurring soon after the beginning of the second subsection, is that of a minor second higher than the original (Ex.13);(9) the beginning of the recapitulation sounds a minor second lower than its counterpart; the immediate repetition of chordal pair IV in group 1 at the end of subsection III is transposed down a minor second (Ex.15); and the chord that marks the end of the first large formal part of Garden Rain (page 10) is a major second transposition of the opening chord displaced into a lower register (Ex.16).
The outer parts of the texture likewise direct the listener beyond individual moments by helping to define the four-part substructure. Extracted for Ex.17,(10) the bass, clearly separated registrally in context, descends linearly to E to articulate the end of the first and third subsections, and to further subdivide the second subsection at the point, following which brass group 2 enters for the first time. Note also the influence of the step-motive, where in Ex.17 its most apparent appearances are bracketed, and the reference to octatonic I in the unfolding of this line. Concurrently, the highest principal melodic structure of each of the first three subsections, as illustrated in Ex.18, consistently leaps upward to a peak followed by a reversal of direction and, in the case of the first and third subsections, a change of octatonic set. Furthermore, with the step-motive isolated initially between rests, the upward leaps project across the silences interlocked forms of set 3-5 related by inversion, which in turn create sets 4-9 (0167) and 4-8 (0156) in a fashion similar to their formation within the opening chordal pairs as shown earlier in Ex.9. The final subsection distills this process to clearly foreground and melodically simple presentations of 3-5 sounded in the midrange of the texture by the trombones. The care which Takemitsu has exercised to insure the continuous presence of set 3-5 is now rewarded: it has emerged extremely smoothly to initiate the work's first major climax (Ex.1).
It is Takemitsu's rhythmic flexibility guaranteed by a notational system of relative durations, unassertive manner, and use of silence that promote a certain Zen spontaneity and tranquility in Garden Rain. The quintessential qualities of Zen-inspired art being asymmetry, simplicity, freedom, naturalness, profundity, unworldliness and stillness, as proposed by Dr. Hisamatsu in Zen and Fine Arts,(11) are captured without affectation or contrivance. Furthermore, the four principal moods of Zen-related art are suggested: the detachment, solitude and quietude of sabi by numerous silences and very soft and unabrupt gestures; the essence of simplicity and poverty of wabi by the simplicity of the music's surface which contains, to borrow a phrase from the visual arts, only "essential brushstrokes"; the transience of things, aware, by the gradual drift and release of sounds into silence; and the sense of calm, stillness and profound depth characteristic of yugen.(12) Moreover, the slow pacing allows the chordal pairs to express themselves, to display their own Zen "suchness." The slow pacing, whether viewed from the perspective of a single chordal pair or the section as a whole, also stimulates the Zen effect of the "inner state of going nowhere in a timelss moment"(13) where "every moment of time is experienced as self-contained and quiescent."(14) Surely Takemitsu's tempo indication, "Nearly Stationary," suggests as much, as does the haiku he includes on page one of the score written by Susan Morrison, an eleven-year-old from Australia:
Hours are leaves of life
and I am their gardener....
Each hour falls down slowUltimately, silence and pause in Garden Rain are not experienced as simple absence or emptiness; but these moments, pregnant with expectation and a resonance of their own, sustain a subtle inner tension that links as well as separates chordal pairs.(15)
The slow evolution, transformation, and linking of isolated segments in Garden Rain are possibly akin to the Japanese linked verse of renga where poems composed separately in succession each develop an image from their immediate predecessor.(16) "The result was often a kind of kaleidoscopic beauty with infinite variety revealed to the reader in a slowly evolving movement"(17) (Ex.19). Moreover, one may propose, albeit with caution, that the individually articulated chordal pairs are like well-placed stones in a Japanese garden that regulate the pacing and direction of our experiences. In the path through the traditional tea garden, for example, somewhat raised stones are arranged relatively close together in order to slow down the stride of the walker and, thus, to prepare him physically and mentally for the contemplative ceremony to follow: breathing is regulated, attention is focused upon the serenity evoked by special areas of viewing, and the feet are kept clean and dry.(19) Yet the stones, like Takemitsu's chordal pairs, serve a purely aesthetic purpose as well since "the stones are to express their own nature, and not the gardener's."(20) They are to be appreciated for their individual beauty as well as for their contribution to one of the most important aspects of the entire garden, the path itself.(21) Using the garden as a source of inspiration, Takemitsu speaks through Garden Rain with admirable integrity as unity, spontaneity, and reflection are inseparably merged.
Notes:
1. Now revised, this paper was originally presented at the Music of Japan Today: Tradition and Innovation symposium, Hamilton College, 29 March, 1992.
2. Toru Takemitsu, Garden Rain (Paris: Editions Salabert, 1974).
3. See page 7 of the score, group 1-trumpet I and group 2- trumpet I. All instruments sound as written except the French horn which is transposed.
4. Because the score does not identify or consistently employ measures traditionally, I will refer initially to page numbers instead.
5. From page 3 onward, chords in paris are also stated in succession without intervening silence, and are also superimposed and overlapped between ensemble choirs.
6. I interpret the short, rhythmic flurry beginning page 6 as a substitution for a single chord, and the metered rapid rhythms of pages 8-9 as embellishing figuration.
7. For additional discussion of octatonic usage see Timothy Koozin, "Spiritual-temporal imagery in music of Olivier Messiaen and Toru Takemitsu," Contemporary Music Review 7 (1993); "Octatonicism in Recent Solo Piano Works of Toru Takemitsu," Perspectives of New Music 29/1 (1991); and "Toru Takemitsu and the Unity of Opposites," College Music Symposium 30/1 (1990).
8. In fact, 3-5 is the only trichordal subset of 4-9.
9. Transposition in the following citations includes isolated instances of octave transposition in inner parts. Predominately, the coloration and voice leading of the original are left intact.
10. The reductions of Ex.17 and 18 do not indicate rhythm, and represent tied and repeated pitches as single noteheads.
11. Lucien Stryk and Takashi Ikemoto, Zen Poems of China and Japan: The Crane's Bill (New York: Grove Press, 1973), p. xlv.
12 Stryk, pp. xxxviii-xlv. See also Alan Watts, The Way of Zen (New York: Vintage Books, 1957), pp. 181-182, 185-188.
13. Watts, The Way of Zen, p. 181.
14. Watts, " " " " , p. 82.
15. Note the composer's discussion of ma in Confronting Silence: Selected Writings (translated and edited by Yoshiko Kakudo and Glenn Glasow (Berkeley, California: Fallen Leaf Press, 1995), p. 51).
16. Matsuo Basho, The Narrow Road to the Deep North: and Other Travel Sketches, translated, with an introduction and notes, by Nobuyuki Yuasa (London: Penguin Books, 1966), p. 14.
17 Basho, The Narrow Road, p. 12.
18. As cited in Basho, The Narrow Road, pp. 13-14.
19. Teiji Ito, The Japanese Garden (New Haven and London: Yale University Press, 1972), pp. 186-187.
20. Ito, The Japanese Garden, p. 187.
21. Ito, The Japanese Garden, p. 186. Takemitsu ("My Perception of Time in Traditional Japanese Music," translated by Steven G. Nelson, Contemporary Music Review 1 (1987), p. 12) advances a similar view of the linked verse of renga: "When appreciating a renga poem or picture-scroll, the reader or viewer follows the work by hypothesizing his own version of its compositional intent or connection of meaning while contemplating the separate and independent significance of each individual verse or scene depicted."