Sectional Layout of Poème électronique
by Edgard Varèse
1:[0:27] Gong and [0:43] Transformation of gong rhythm to clave timbre,
2:[0:47] introduction of electronic signal sources; two important countours are introduced: Contour #1 which rises then falls in a curve and Contour #2 which rises.
3:[0:55] Whistling electronic signals sustained with intense envelope motion. This envelope is the motion equivalent of contour #2.
4:[1:09] Quick alternations between noise-like rattles and pitches E-B
5:[1:18] Bsn-like interjection (3+5)
6:[1:23] Rising glissandi articulated three times, roughly F-Ab, using contour #2.
7:[1:37] Two-part texture, cymbal-like noise elements using envelope #2, on top of sustained pitched bass segment E-D-Eb.
8:[1:47] Four articulations followed by faster articulations leading to complex texture ended with contour #2.
9:[1:58] Further development of section 5.
10:[2:02] One glissandi section 6.
11:[2:06] Further development of section 5.
12:[2:13] Rising gesture (uses the E-B fifth with the upper bsn part) with reverb blur; rising gesture is an elongated version of contour #2.
13:[2:30] Introduction of drums, quickly alternating texture culminating in Contour 1. Tapping motive leads into the next section.
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14:[3:01] Gongs of section 1 developed.
15:[3:10] Sustained sounds forming harmonies.
16:[3:26] 5 articulations then 3 on pitch G.
17:[3:37] Development of section 15 more motion from envelopes.
18:[3:53] Alternation between filtered tap sounds and rattle, ending with their combination.
19:[4:06] low-voice
20:[4:19] interlude, taps and rattle.
21:[4:25] low-voice
22:[4:42] Sharp sforzandi interruption.
23:[4:46] Low-voice and drum duet; primal.
24:[5:10] Deep texture with scratchy interjections leads to extended silence.
25:[6:14] Sustained texture developed from successive textures accompanied by drums.
26:[7:02] Finale: High voice, Medieval chorus, organ, etc. Clave sound returns,
Two repetitions of the section 6 glissandi. Forceful ending gesture; contour #1 followed by contour #2.
