Timbre and Texture in Chidori Essay

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This lack, especially in the voices, lends a spectral quality to the piece. Even later in the piece, when the timbres of the various voices -- the strings especially -- grow in richness and fullness, this spectral quality remains. The various timbres of the piece, though necessarily different, sound very similar to each other, due in part to the repetition of the melodic line, but mostly because of conscious manipulation of the individual timbres.

There are far fewer voices in Chidori no Kyoku, and their timbres are far more distinct from each other. There are still strings and a human voice, as well as a woodwind, and these three voices are united -- though not identical -- in melody, but are entirely unique in timbre. The woodwind, flute-like instrument is soft yet very rich; different from the soft flatness at the beginning of Debussy's Nocturne and the intense fullness later in the piece. The stringed instrument of this piece, though not exactly flat, does not contain the same resonance as a violin, and is played by plucking in this piece rather than bowing. This instrument's timbre is closer to that of a banjo, though the twang is no so pronounced (and the melodies and speeds played on it are vastly different). The singer's voice in Chidori no Kyoku serves to unite the two other voices of the piece. In this way, it is similar to the singers' timbre in Debussy's Nocturnes, which contained similarities to the timbres surrounding them. The methods used in this piece to achieve that effect in the singer's timbre are very different, however. There is a flatness in some moments and a soft roundness in others; sometimes a twang is if the vocal chords are being almost plucked (not a pleasant image, but an interesting sound), and at other times the air seems to pass effortlessly through the resonant channel of the singer, much as through a flute.

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These timbres form a texture strikingly similar to that of Debussy's Nocturnes.

Both of these two pieces, despite the differences in their timbres, have textures with a remarkable number of commonalities. There is a softness to both pieces, even when the Nocturne swells to a fullness and higher volume. In this portion of the piece, the similarity of timbre of the collective voices that Debussy employs creates a fullness of sound that seems even greater than the sum of its parts. Yet through it all, the texture of the piece is extraordinarily smooth, and the blending of timbres is seamless. In Chidori no Kyoku, the timbres are not blended, yet the texture remains smooth. Despite the twangy and almost percussive timbre of the stringed instrument, it does not interrupt or harshly counterpoint the soft richness of the woodwind, but rather complements it, forming a texture with distinct layers, but moving smoothly as a whole.

Despite the disparity in geographical distance, musical tropes and rules, and even the instruments used, the music of Debussy's Nocturnes and Chidori no Kyoku can have very similar effects on the listener. This is largely due to the textures of the two pieces, created by different yet similarly evocative timbres. The balance of richness and flatness, smoothness and contrast, are achieved in different ways, but both are extraordinary and peaceful pieces of music......

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