"Composition gives proper meaning to the natural streams of sound that penetrate the world."

Takemitsu's textures are the product of careful manipulation of pure sound and his attention to its density, volume, colour and orchestration.

Interesting textures are created by:

• blending the sound of two or more instruments which have a similar range and character e.g. flute and oboe.
• contrasting instruments which have a very different sound e.g. trumpet and vibraphone.
• asking for instruments to be played in unusual ways.
• having many strands of similar material sounding continuously which allows different instruments to fade in and out of focus.

   

   

At the beginning of Tree Line listen to the way different instruments enter, play a short phrase which brings them into the foreground and then fade back into the distance.

Example 1: bars 1 - 4

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As well as blending similar sounding instruments Takemitsu also creates more mobile textures by overlapping the melody line between them.

Example 2: section B bars 2 - 7

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Below this a beautiful texture is made from instruments all playing similar material at slightly different times. Double bass, cello, viola, horns, trumpet and trombone blend seemlessly with harp,celeste and percussion.

Example 3: section B bars 1 - 5

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One unusual colour in Tree Line is created by asking the percussionist to rest an inverted cymbal on the skin of the timp and then to play a tremolo whilst pressing the pedal to make the pitch of the timp rise and fall. The harp with its de-tuned strings adds to this eerie sound.

Example 4: section C bars 1 - 6

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Towards the end of the piece Takemitsu combines the transparent sound of the string harmonics with the pure bell sounds of the celeste, glockenspiel and vibraphone to magical effect.

Example 5: section L bars 1 - 4

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Aithough the sound of the music is often very free and improvisatory,Tree Line is actually very precisely notated.

 

For example, in the opening four bars, the vibraphone player is instructed to play first with the motor switched on using a string bow. Then, with medium hard mallets, he is asked to play a straight F, followed by a tremolando into bar 2. This is followed by a note with the motor off but played with a xylophone stick, before using the string bow again with the motor back on in bar 4. score example

 

As well as being explicit with his musical notation, Takemitsu is also very specific in the directions he gives the players to help them interperet the music.

 

For example, he writes:

"as from far beyond"

"slowly as from far beyond"

"as birds calling"

"entry of strings should be very soft as inaudible"

"play as long as possible"

"breath imperceptibly ad lib"

"solo ad lib'

"tremolo with slow oscilation"

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Here are some other unconventional ways Takemitsu asks the players to play their instruments :

 

Wind

port - sliding to or from a given note

con vib. (c.v.) - with vibrato

non vib. (n.v.) - without vibrato

from off stage

0 - flagiolet tone (thin glassy sound)

Brass

con sord (c.s.) - with mute

with practice mute

+ - stopped with the hand

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Percussion

vibraphone motor on

vib. play with string bow

vib. use xylo sticks

harp. de-tune strings

l.v. - let vibrate

gliss - slide up or down the scale

bisbigliando - repeating a set of notes softly and quickly

play with the finger nail

play at the lower end of the instrument letting the finger hit the body of the instrument

Strings

quarter tone higher

quarter tone lower

sul ponticello (s.p.) - play near the bridge (produces a metallic sound)

sul tasto (s.t.) - play near the finger board (produces a dull muted sound)

trem. - rapid repetition of a single note

0 - harmonics - playing a note of the harmonic series, producing a clear, glassy sound

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