by Hei-Yeung (John) Lai
Track #2 from Hugo Zemp’s 1974 field recordings. This track is a recording of the ‘Au Tahana ensemble, a panpipe quartet.
John Lai’s annotated transcription of Paane ni Rokera
Observations
- Both voices keep repeating a 10-quarter-note cycle throughout the recording, except that the first cycle of the upper voice is one quarter note shorter. Thus, the cycles of the two voices are misaligned.
- The example below compares the actual, misaligned cycles to a hypothetical, aligned form. The hypothetical version features parallel motions between the two voices. The intervals generated between the two voices are all consonant. In contrast, there are more intervallic and contour varieties in the actual realization. Also, the composite rhythm in the actual performance is denser than the hypothetical one. These factors demonstrated by the actual, misaligned cycles might have provided more momentum for the cyclic repetitions.
Comparison of cyclic construction, noting the asymmetry of part alignment
- The cyclic repetition unfolds a large-scale formal process too. Apart from those pitches marked with an asterisk, the pitch sequence of the cycle is fixed. Examining the content of those unfixed pitches clarifies the formal process and the interaction between the two voices.
- In the top voice, C#4 (in red asterisks) is the normative pitch. As this pitch changes to B4, it seemingly calls for a response from the low voice, resulting in a change of pitch in the low voice (see the blue and yellow circles).
- In each cycle, the combination of these unfixed pitches (see right column) is distinct, providing a fresh, renewing cyclic experience.
- The union of the same note C# returns only in Cycle 5 after the first cycle, marking the end of the whole cyclic process.