The page numbers below refer to the score published by Soundings Press.  Click on any of the thumbnails of the sections to get a bigger view.

section and duration

starting
page in score

order of tempi, type of canon order of ranges, interval of entrance, ambitus of voice material dynamic level, duration of entry notes melodic character texture perceptibility of canon contrast with previous section
I

14"

1 fast to slow; divergent top to bottom, by 5ths, voice range of 4th ff, double whole notes moves up by fourths sustained over whole range of piano, almost all voices overlap at beginning sounds like spreading chords, by the middle it becomes a sound mass

-
II

12"

4 fast to slow; divergent top to bottom, by 4ths, voice range of maj 3 pp, attacks a whole note apart moves up chromatically staccato spreading chords heard clearest at end dynamic, direction of entrances, duration of notes
III

11"

8 slow to fast; convergent bottom to top, by 4ths, voice range of maj 10 ff, attacks a half note apart majors triads, moving up and down by step staccato, otherwise notes could overlap sounds like jumbled chords, gradually becomes organized towards convergence dynamic, chords
IV

30"

11 slow to fast; convergent top to bottom, by whole steps, voice range of half step pp, attacks a quarter note apart chromatic movement up and down mixed short and long notes with rests, somewhat aerated obvious entrances dynamic, more space between voice entrances, half step melody, notes in treble only
V

47"

19

slow to fast; internal synch low to high, irregular, voice range of whole step mp to ff and back with terrace dynamic changes, attacks an eighth notes apart half steps and some thirds fewer rests than canon IV canon clear at beginning and end, otherwise an ascending sound mass mix of staccato and legato, a bit more melodic
VI

30"

32 slow to fast; convergent low to high skipping registers in three cycles, by min 10ths ff, most notes a sixteenth and thirty second apart, range of two octaves first material that seems like a melody register jump keeps voices from overlapping register jumps and spaces between entrances helps perception of canon sixteenth notes, register jumps
VII

30"

40 fast to slow; divergent top to bottom, minor thirds, each phrase has its own ambitus ff, sixty fourth notes, rapid stepwise movement or arpeggios, last of five phrases has more melodic contour but irregular rhythmically and hard to follow isolated, dense figures five phrases, first sound like glissandi, the fourth one is spread out enough to recognize as canon starts with fastest notes, one of climaxes of the piece
VIII

47"

48 unordered; internal synch irregular mp, eighth notes, with accented sustained triads chromatic movement of 4 to 25 notes, followed by leap to triad notes spread out over four octaves register jumps and contrast in voice melodic material make canon easy to follow, even when four or five voices playing simultaneously starts to slow back down, melodic material
IX

30"

61 unordered; internal synch like VI ff, eighth notes same sort of movement by step, but played as major triads seems more tonal two to four voices playing at a time, spread out register jumps, space between entrances, and triadic material help make canon perceivable all triads, loud
X

22"

69

fast to slow in three cycles; internal synch high to low (mostly) in three cycles.  Didn't have enough range to finish pattern the third time pp, eighth notes descending melodic line sparse register jumps, space between entrances, and melodic material make canon perceivable dynamic
XI

24"

75

fast to slow in four cycles; initial synch high to low (mostly) in four cycles. mp, eighth notes with accented sustained triads (like VIII) descending chromatically sparse register jumps, space between entrances, and melodic material make canon perceivable back to figure like VIII
XII

91"

82

slow to fast; convergent low to high in three cycles ff, one octave range, half and whole notes skips by thirds and fourths Bmaj7 and Cmaj7 chords long notes and phrases (resulting in at times most of the lines being sounded), alternating with short chords disguise canon sustained notes and staccato triads like I and III

[ Study No. 37 ]