Subsection 1, which includes structural units of harmonicity (e.g. 0:50 – 1:10), is re-elaborated as a background layer over subsections 2, 4, 6 and 8. This contributes to a sense of coherency across the work. Formal contrasts, however, are created by differences in activity levels between subsections: 1 and 3 (with incidences of soft drag motion, e.g. 4:22 – 4:25); 5 (containing compacted multidirectional discontinuous motion with causal appearance and disappearance, e.g. 7:13 – 7:33, and onsets followed by smooth low-frequency growling prolongations21 which fade out, e.g. 7:01 – 7:02 and 7:03 – 7:06); 7 (less activity); 2 and 4 (featuring smooth spiral texture motion, e.g. 4:41 – 4:43); and 6 and 8 (increased activity through onsets followed by decelerated prolongations which vanish gradually, e.g. 10:52 – 10:54 and 10:55 – 10:56).
This provides the piece the opportunity to move gently between filled-up spectral spaces (subsections 2, 4, 6, 8) and less-occupied spectral spaces (subsections 1, 3, 5, 7), although a sense of continuity throughout the entire part is also present in order for it to maintain its identity. In addition, the contrast between subsections allows the work to breathe as the activity and tension built dissolves into slower gestural motions and this results in a rising/falling flood-tide textural movement as tension is built and released.
21Streaming of low-frequency repetitive dry sound elements in semi-rapid dragging motion.