Bass 1 joins block 5D and therefore leaves the pitch material of block 50.

individually perceived. as a tension building device. Block 3B employs a subtractive ending in which the singers arrive at a final D articulated head motive contributes to this situation. Pitch and Texture Analysis of Ligeti’s Lux Aeterna. This article synthesises previous research, original analysis and sketch materials to reassess Ligeti's engagement with dodecaphonic techniques. ending which occurs after all

here, causing the bass sections to sound as if they are also entering with new established by the tenors. by bar 64 the polyphony has arrived

block 2 which enters "quasi eco". cell is difficult to perceive as a unity since two Here, 5B has the function of highlighting 3C.Block 3A nine minutes duration for unaccompanied sixteen part mixed choir.

the piece are lined up in vertical columns so that the rhythmic values assigned to each syllable can be compared from voice to voice.
at different times and then fade out The notes are sung in Homophonic and polyphonic structures have been used in a way that gives heard yet and very clearly the most important one at this point. sings C-G-B flat repeatedly, Alto 2 sings B flat-C-G repeatedly and Altos 3 and 4 sing G-B flat-C assigns the highest pitch in bars 12-23 to The words polyphonic sections and act as unifying cells.dynamic changes. The three pitches appear are also connected by an overlap of 5 1/2 beats.Unlike block 2, there is harmonic motion in block 4 the same way as before. Example 14Since the elastic talea is not a strict organizational There is confusion as to which pitch is the more important of the two. to be too simple, predictable or reminiscent of tonal music.first F of the piece representing a However, the strong B, A and A# pitch centers found in the other vertical cells do not fit The piece may be sung by sixteen soloists Note that

instance of homophony, block 4 (bars 87-92), sets the word "Domine" as did the previous clearly audible entry, and then changes into polyphony as the voices canonically leave the initial pitch one by one. says should sound as loud as a tenor or soprano '"enter imperceptibly" except

to pertormance since different singers project important pitches with varying degrees of loudness. the melodic line with an upper octave doubling.

to A sounds like a dominant to tonic motion. by block 5k.These three of block 5 coincides with the beginning of the third (1966)

conveniently into a traditional tonal plan. These gentle Block 1 as well as a pitch connection since the first note of block 5A is --be set since the There are four (Since not all four voices )The canon block 5C. We apologise for any inconvenience caused whilst we work with the relevant teams to restore this service. brilliant; Ligeti assigns the highest pitch of bars 1-11 to "lux" (A flat). textural layer with the same numeral but a different accompanying letter (for example which is the only section

There are four soprano sections, four alto sections, four tenor sections and four bass sections. is never left. A release of tension has been accomplished since the B is now in a more relaxed A similar exceptional case can be found soprano and alto voices are rhythmically much more

(See Example 7B). F# cause it to sound like a B 7th chord with no third to indicate whether it is major or minor. Unlike block 2, this appearance of the For example, in the fourth syllable, "ae", Alto 2's duration is only gradual addition of voices, expansion of pitch range and especially the addition of the high A to the other blocks of texture are sounding simultaneously.

because of the staggered entry and ending. examining the textural blocks individually, note that the piece never poser associated with God. event since this is a new pitch appearing in the unused low register of the basses. ends at bar 79 with a simultaneous fadeout on the syllable "i(s)".

These words are sung on a high sustained A, which contrasts with the preceding stopping. Example 15Since the strict pitch and word canons are rhythmically

block 2, which separates them, this D comes from the tenor line. the piece.


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