Chapter 7

Harmonic Evolution

NECESITAN UN PATRN RTMICO, PARA SER SATISFACTORIO

7.1: Harmonic Pedal

Harmonic pedals share the same premise as rhythmic pedals, namely the repetition
of a predetermined pattern, and intriguingly are evenly distributed chronologically
within Messiaens output. As with rhythmic pedals, there is no evidence of
evolution from earlier to later works due to the innate limitations of the notion.
Harmonic pedals are always allied to a rhythmic device, as Messiaen obviously
believed the technique could not function satisfactorily in technical isolation.
In the rst movement of the Trois petites liturgies de la Presence Divine,
Antienne de la conversation intrieure, a harmonic pedal commences at 11/ 1 on
the piano. The upper stave has a pedal of 13 chords in mode 61, while the lower
has a pedal of nine chords in mode 32. The rhythmic procedure to which they are
allied is a canonic pedal: the lower stave reiterates the uppers rhythm with the
simple addition of a dot.
At 8/1 in Amen des etoiles, de la planete a lanneau (Visions de l JAmen), the
rst piano unites harmonic pedals with their rhythmic counterpart. This instance
exploits a superposition of two amalgamations; unlike the example in the Trois
petites liturgies, the rhythmic elements are not canonic and the resultant effect is
slightly more complex. The rst combination allies a rhythmic pedal of 24 values
to a harmonic pedal of seven chords. The second has 18 values and ve chords.
The resultant isorhythmic technique is of course not Messiaens invention, but it
nevertheless appears here in an extraordinarily complex guise.
A passage in the Introduction to the Turangalla-symphonie (16/1)
superimposes two combinations of harmonic and rhythmic pedals in a manner
comparable to the instance highlighted above in Visions de lAmen. On this
occasion one pedal marries a variant of Lakskma to the harmonic pedal of
14 chords, which is as, Reverdy observes,1 in mode 62. The other rhythmic and
harmonic ostinato originating at the same point in the score utilises Rgavardhana
and mode 44 in an analogous manner. A parallel passage in Montagnes (Harawi,
starting at 13/5) employs a retrograde rhythmic canon but does not extend the
potential of harmonic pedals beyond the instance highlighted in Turangalla.
An amalgam of harmonic pedals and rhythmic canon (by the addition of a
dot) can be observed in Regard du silence (Vingt regards sur lEnfantJesus,
128/ 1-128/9). The isorhythmic facet is absent here given that both layers of the
rhythmic canon utilise 17 values. Despite such unions between techniques, the

1 Michele Reverdy, L aeuvre pour Orchestre d JOlivier Messiaen (Paris, 1988), p. 31.
84 Messiaen s Musical Techniques: The Composer s View and Beyond

intrinsic character of the harmonic pedal remains unchanged. Furthermore, on this

occasion each pedal uses exclusively chords contained within a single mode of
limited transposition, with the upper parts pedal of 17 chords being in mode 34
and the lower part of 17 chords in mode 44.
In all the above instances the pedals function in the same capacity regardless
of the rhythmic procedure to which they are allied namely as the harmonic
equivalent of an ostinato.

7.2: Modes of Limited Transposition

The modes of limited transposition date from around 19273 and continued to be used
during the remainder of Messiaens career. His early works are based almost entirely
on the modes, and despite falling out of favour between the late 1940s and 19505
they later regain their importance to feature alongside other harmonic devices.
An examination of selected works will illustrate the changing role of the
modes. The Visions de l Amen exhibit the central position of the modes in works
written prior to Messiaens change of style at the end of the 1940s. Their use in this
work may be summarised as follows:

8/ 1: Superposition of 33 and 21.

10/6: Polymodal modulation [1]: 21, 23, 23, G (LH), 33 (RH). 3
11/8: Superposition of 43 and 61 within C# minor (transposed to 45 and 63
within E minor at 12/6).
14/2: Series of ve chords in eight modes 23, 45, 23, 41, 21, 43, 23, 45
(different degree) which ends on B7 (dominant of home key).
19/1: Chords of 31 (transposed to 33 at 19/6).
23/9: Superposition of 31 and 23.
26/4: 21 [2].
32/2: Theme in C major mode 21.
33/1: Mode 23 dominant, mode 23 tonic, mode 21 subdominant, mode
43- subdominant minor (plus mode 65).
36/4: F major second inversion followed by modes 23 and 31.
36/10: E) major second inversion followed by modes 21 and 33.
48/1: First theme harmonised by modes 21, 23, 31.
48/4: Mode 31 for theme and accompaniment.
50/12: Mode 21 (A major).
62/7: Mode 23 [1] (LH).
66/4: Chord With all notes of mode 33 transposed onto three degrees.
66/5: Mode 21 With added notes.
74/10: [1] Mode 1, Mode 23 ff.

3 Tr7/126.
3 Numbers in square brackets indicate Piano 1 or 2.
86 Messiaen s Musical Techniques: The Composer s View and Beyond

7.3: Chords of Inferior/Superior (Contracted) Resonance

Chords of contracted resonance may be employed as isolated chords (often to

punctuate birdsong), over extended periods, or in combination with other types of
chord. They may function in isolation but are often presented as AB pairs.4 They
span the majority of Messiaens career; they were used from the early 19405 to 1992.
The role of contracted resonance is generally to function in a secondary role to
the main theme by providing superior resonance and inferior contracted resonance
(contracted because of the closeposition spacing). However, the superposition of
all varieties of resonance can occasionally be observed: for example, in Amen du
jugement (74/9) where the second piano has two chords with superior and contracted
inferior resonance and extends the idea by tritone transposition, while the rst piano
accompanies with normal (that is to say uncontracted) inferior resonance.
An occurrence of inferior contracted resonance in the piano part of Harawi
(Katchikatchi les toiles, 90/2, under cheveux) could be regarded as a
retrogradation of the usual presentation of such chords. Here the resonance is
exposed prior to the chords it supports (Example 7.1).

Example 7.1 Inferior contracted resonance at 90/2 in Katchikatchi les toiles

(Reproduced by kind permission of Editions Alphonse Leduc,
Paris/United Music Publishers Ltd, England)

Voice

mains dc mes che

8|" """""h""" I

b: Ebb

Piano
.

>

m". _ J

In practice differentiation of the resonance from the surrounding material

is only possible after taking into account Messiaens comments, and this brief
extract is a demonstration that some of the composers technical idiosyncrasies
are practically impossible for others to detect without a key to the code. The
composers detractors could point to this weakness as being applicable to a number
of his techniques (both harmonic and rhythmic).

4 For an investigation into Messiaens concept of resonance see: James Mittelstadt,

Resonance: Unifying Factor in Messiaens Accords Spciaux, Journal of Musicological
Research, 28 (2009), pp. 3060.
 88 s Musical
MessiaenACORDE Techniques: TheDEComposer
APOYATURADO s View and Beyond
DOMINANTE

des anges, des saints, du chant des oiseaux (50/911, both pianos). The chordal
basis for these three bars is shown in Example 7.3.

Example 7.3 Chordal basis for a chord of a dominant appoggiatura at 50/911 in

Amen des anges, des saints, du chant des oiseaux (Reproduced by
kind permission of Editions Alphonse Leduc, Paris/United Music
Publishers Ltd, England)

SE "DISUELVE" LA SONORIDAD
ACRDICA DE CONJUNTO

The pianos present these harmonies one note at a time, starting with the E
and rising upwards, then the C# and G#. The problem with such a distribution is
that unless the technique is presented as chords, the effect is extremely diluted.
If the three bars were taken in a single pedal, an approximation of the effect
could possibly be created, but this is not normal practice and would produce an
unfeasibly blurred result.5 The chord of a dominant appoggiatura is little more
than a curiosity in Messiaens catalogue of techniques: an early notion which later
became subsumed within more developed ideas.

7.5: Closed/Open Fan

USO GENERAL COMO ELEMENTO DE TRANSICIN. LIMITADAS APARICIONES.

In the nal two bars of Cantyoaj'ay both types of fan are combined in one gure
(Example 7.4). It commences with a brief closed fan before turning into an open
fan. This is a perfect example of the convergent harmonic effect the technique
produces, and also of its typical keyboard layout. Fans regularly feature in both
solo and two piano works, taking either a primary or secondary role.
An example of a fan in the Turangalla-symphonie illustrates Messiaens use
of the procedure as a small-scale transitional device. In Chant damour 1, at 49/3,
a short closed fan provides a link between the rst couplet and reiteration of the
refrain. This type of fan is ideal for connecting unrelated material, given its lack of
intrinsic thematic identity and its harmonic ambiguity. When the device is given
a more prominent function and combined with other compositional elements it is
done so only in a fairly limited way. Later in the same movement at 65/467/1 the
principal thematic material of the passage is treated as a closed fan.

5 In his own 1949 recording of the work with Yvonne Loriod (FMR CD120-L0403),
these three bars are not taken in one pedal.
 Harmonic Evolution 89

Example 7.4 Fan in nal two bars of Cantyoaaya

a."-#._
Si". ........................ J
UN RECURSO DIFCIL DE COMBINAR CON OTROS.

The most developed use of the technique transpires in Regard du temps (Vingt
regards, 55/36): a three-part rhythmic canon is allied to a closed and open fan
effect. Nevertheless, on both occasions the fan principle imposes boundaries that
restrict the way in which it can interact with the other element involved.

Contrapartida meldica de los personajes rtmicos

7.6: Asymmetric Augmentation Una frmula meldica es variada cromticamente
en las siguientes sucesiones
The most important occurrence of the technique is within Lchange (Vingt
regards sur l Enfant-Jsus), as the piece is entirely dominated by the procedure
(see A.2.6 for details). In Regard de lesprit de joie, the section between 62/2
and 63/4 superimposes two independent augmentations. As in Lchange
the technique concludes when it has returned to its original pitches, albeit in
different registers.
Although asymmetric augmentation is used in combination with a fugue
(Par Lui tout a t fait, 25/36) and interversion of pitch (Regard de lglise
damour, 158/9159/7), there is not a real interaction with the other element on
either occasion. It appears Messiaen was either unwilling, or unable, to merge the
concept with others. Parece haber un eje de simetra virtual a partir de la variacin
por semitonos.

7.7: Change of Rhythm and Register VARIAR VALORES RTMICOS DE UNA SUCESIN DE NOTAS
PREDETERMINADA. DESARROLLO POSIBLE.

Change of rhythm and register is used relatively rarely, but it plays an important
role in Par Lui tout a t fait (Vingt regards, 25/35). Here Messiaen alters the
rhythm and register of fugal material so that it theoretically retains its identity
but its sound is greatly changed. It is perhaps surprising that the technique did
not establish itself in Messiaens language, as it permits the variation of passages
in a style beloved of the composer. The relative crudity of the procedure (when
compared to asymmetric augmentation, for example) is perhaps the explanation
for its extremely limited use.
9O Messiaen s Musical Techniques: The Composer s View and Beyond

7.8: Rocket-Like Groups (Groupes fusees)

Contrary to Messiaens other harmonic procedures, the whimsically titled rocket-

like groups are named after the resultant audible and visible effect, rather than
the technical process itself. These groups of grace notes feature many times in
the Ving regards and are remarkably similar at each appearance, irrespective of
the context. Such prominence is the exception rather than the rule. The length of
the rocket may be extended (occasionally by dividing it between the hands), but
the shorter type is the most common as it allows Messiaen to break up extended
themes or ideas.
Later examples of rocket-like groups in orchestral works retain the core idea
of the concept, but lack the immediacy and attack of the piano. When transposed
to the orchestral domain the groups have the effect (to borrow Messiaens term) of
a gust of wind, and take on a more decorative role than in the Vingt regards. A
prime example is observable in the Introduction of Chronochromie (12/3).
Messiaen had a tendency at times to blur the line between a rocket-like group
and a simple arpeggio, as at 279/4 in the Turangalla-symphonie, and it is by no
means clear how, if at all, the two should be differentiated.
MD

7.9: Chord of Transposed Inversions on the Same Bass Note

The earliest instances of chords of transposed inversions on the same bass note
demonstrate a sparing use of the device. In Harawi and Messe de la Pentecte only
a small number of chords are present, and in their eeting appearance they do not
particularly distinguish themselves from the surrounding material. In Cantyoaay,
Chords lAC coincide with the rhythmic retrogradation at 17/1 112, and on this
occasion the essence of the procedure is weakened from the perceptual rather than
the conceptual point of view by the changes of register. Example 7.5 illustrates the
passage from Canteyoajay (see Appendix 1 for the full series of the rst chord of
transposed inversions on the same bass note). Messiaen employs the chords merely
as a harmonic resource with little regard for their true function (in his terms), as the
omission of Chord D prevents a completion of the technique.

Example 7.5 Canteyoayay 17/ 1112

8IYI"I

>-
>
 Harmonic Evolution 91

It is not until Chronochrome that chords of transposed inversions on the

same bass note take on a role of equal importance to the other elements of
the texture. Strophe 1 is built on layered interversions, and those executed
by the second violins are coloured by chords of transposed inversions on the
same bass note. The subsequent occurrences of the procedure form a pattern of
larger-scale usage, conrming its greater prominence during the later stages of
Messiaens career.6

7.10: Resonance of Timbres

As stated in Appendix 1, resonance of timbres is not often found and its

occurrences are limited to the earlier works. Its natural use is in piano music
as an additional resonant effect, and examples are present in works such as
the Vingt regards sur lEnfantJesus. The technique is clearly an effect rather
than a specic chord (or set of chords) and its application is free from any
consideration of pitch.

7.11: Turning Chords

Turning chords started life as colonnes dair en resonances mobiles (comme le

vent dans les arbres) in the early 1940s (Messiaens study of Visions de l Amen
illustrates the technique in this form at Tr3/238). They were used from about
1943 onwards and their frequency increases after the 1940s. These harmonies
do not have to be used as a complete technique (AC) and individual chords
may be chosen from various transpositions to appear consecutively. The label
turning chords was a later development in Messiaens output and the concept
is a relatively loose one.
The Trois petites liturgies have harmonic links to the concept, but only certain
elements of the chords appear and therefore are not turning chords as dened
by Messiaen. For example, at 8/3 the rst chord on the piano uses the lower
harmonies of turning chord 11A, but the upper harmonies are unconnected with
the procedure. The ll technique starts to emerge in the Cinq rechants (2/68),
and consequently in Cantyoajay (12/6ff.). The latter work makes use of turning
chord 8 during one of its most clamorous moments (Example 7.6 below).

6 The usage of this technique in works from the late 1960s onwards is surveyed in
Vincent P. Benitez, Aspects of Harmony in Messiaens Later Music: An Examination of
the Chords of Transposed Inversions on the Same Bass Note, Journal of Musicological
Research, 23 (2004), pp. 187226.
 Harmonic Evolution 93

7.12: Chord of Total Chromaticism

The moniker chord of total chromaticism has a specic usage in Messiaens work
and is one of the ways in Which he utilised the 12-note total. Instances of total
chromaticism are present as early as the start ofthe 1940s, but this chord nds favour
later in the composers career.8 The 1960s and beyond see it coming into fruition as
a (fairly) regular harmonic tool, where it appears according to Messiaens denition
(that is, as an eight-note chord followed by the remaining four notes of the set). The
chord of total chromaticism is fundamentally the same at each manifestation but
lack of development is an understandable trait of this device.

7.13: Personnages Mlodiques and Harmoniques

POQUITO
These techniques Were used very sparingly in Messiaens work, and the combination
ofall three types ofpersonnages in the fth movement ofthe Turangalla-symphonie
has them Jnctioning at the maximum of their potential. At Fig. 14 the theme of
the refrain is subjected to three related techniques: personnages rythmiques,
personnages mlodques, and personnages harmoniques. They function in three
strands of the orchestral texture: the brass, Woodwind/strings and piano.

"PERSONNAGES" EN VARIOS PARMETROS

Personnages Rythmiques9
FUNCIONANDO A LA VEZ

The three personnages rjythmiques are found on the brass. A is the increasing
personnage, B decreases, while C remains (apart from slight discrepancies)
immobile. Both A and B have three values within each cell, while C has one. They
proceed as shown in Table 7.1.
IMPORTANTE ANLISIS DEL
QUINTO MOVIMIENTO DE
Table 7.1 Values of Personnages A, B and C TURANGALILA.

FALTAN REFERENCIAS
Personnage A Personnage B Personnage C COMPASES

9 1,
20 4 10
UIO`\\IOO

UIO`\\IOO
\O`\U-|

\O`\U-l

J J
\-

727 ,3, 9
737 J 2J 10
18 7
4 7
11 J
1J 10
11
11
5

8 See sections 8.1 and 8.2 for a consideration of the varied types of total chromaticism.
9 Personnages rythmiques will be discussed here as they form an integral part of the
total personnages concept in this passage.
94 Messiaen s Musical Techniques: The Composer s View and Beyond

This movement of the two personnages can be directly connected to Messiaens

observations in his analysis of The Rite of Spring, where it is stated that if one
personnage acts then another personnage must as a result be acted upon. It can
also be seen in Table 7.1 that Personnage B performs a retrograde movement ofA
except that its outer values are increased by a semiquaver.
Personnoge C proceeds as follows: 10, 9, 10, 10, ll, 11, 5. This sequence
would appear to be at odds with its supposed immobility. However, the immobility
is only applicable to the rst four values, as these follow the four appearances of
A and B after which the whole process is suspended. The second value of C is
reduced to 9 semiquavers due to the interruption at Fig. 17 of seven bars unrelated
to this process. The last three values of l l, 11 and 5 are in actual fact unconnected
with the personnages rythmiques, as they are just a prolongation of C.

SIETE GOLPES
Personnages Mlodiques

The personnages mlodiques are performed by the woodwind/strings and piano.

As the name suggests, personnages melodiques are an application of the idea
behindpersonnages rythmiques to the eld of melody. The woodwind/strings have
semiquaver thirds in groups of seven, with each group separated from the next by
a semiquaver rest. The piano has the same groupings but starting a semiquaver
later. In the groups played by the woodwind/strings the rst ve thirds in the
group descend by a semitone on each appearance, while the last two thirds remain
melodically immobile. The groups on the piano reverse this procedure; the rst two
thirds remain melodically immobile, while the last ve thirds ascend by a semitone
on each appearance. The resulting combination of the woodwind/strings and piano
has an increasing element (ascending), a decreasing element (descending) and
one that never moves. This is the rst occurrence of personnages melodiques in
Messiaens music, but the technique is very similar to the instances of asymmetric
augmentation in earlier works. A clear example of asymmetric augmentation can
be observed in Lechange from the Vingt regards sur l Enfant-Je'sus, which
has six melodic fragments that ascend, descend or remain immobile. The main
distinction between asymmetric augmentation and personnages melodiques is the
formers more rigid nature, often completing its expansion over a set period and
then ending. The personnages melodiques allow for the greater flexibility required
of them to combine with the other types of personnages. This would suggest an
application of different terminology to the same technique, and also reveals the
inuence of Stravinsky to be traceable back to before the Turangalila-symphonie.
The technique ofpersonnages melodiques highlights how Messiaen reconstitutes
a process observed in Stravinskys work and not only used it in his own music, but
also developed its potential.