similar effect in the Concerto, seen in the following extract of the first violins at figure I.
Figure 32: Concerto, rehearsal-mark I.
The momentary synchronisation of the quintuplet semiquavers focuses the listener’s attention due to the sudden emergence of a perceptible pulse. This prepares them for the abrupt change in colour and harmony upon reaching the forte shown above, at which the new timbres of harp, tamtam and Bartok pizzicato enter (not shown), making it all the more powerful. Allowing glimpses of the underlying pulse can be equated to the wabi-sabi element of incompleteness.
6.5. Constant pulse: emerging imperceptibly.
Driven by the desire to broaden the set of techniques I applied to rhythm, I sought ways that the opposites of pulse and floating time could blend more seamlessly in addition to the brief glimpses outlined above. This would allow longer periods over which to explore the possibilities of pulse in the greater scheme of my language. Indeed, the prevalence of floating time found in honkyoku is not reflected in the parallel sankyoku44 repertoire or other traditional music styles of Japan. The music of 44
Sankyoku is a separate tradition of repertoire featuring the shakuhachi in combination with a koto and shamisen, the players of which are also required to sing. While this repertoire is historically significant to the shakuhachi itself, I studied relatively few pieces in depth.
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