By Lucas Drew
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Additional info for 77 Baroque Basslines for Double Bass
In that melody, which also uses the transposition of mode 2 that is angled towards E major, the Ft| is frequently used as if it were a melodic substitute for the tonic pitch E rather than as a jovial displacement of a passing F#. Nor does 'La colombe' have the exaggeratedly four-square rhythmic profile which is largely responsible for the lighthearted effect of the melody from 'Intermede'. The melody shown in Ex. 1 is presented in bare octaves, as is its continuation into an eight-bar phrase. The music that follows from iv/B:l begins by repeating the opening, but the music is varied from the third bar onwards.
3:] And there came out of the smoke locusts upon the earth: and unto them was given power ... [v. 4:] And it was commanded them that they should not hurt the grass of the earth, neither any green thing, neither any tree; but only those men which have not the seal of God in their foreheads, [v. 5:] And to them it was given that they should not kill them, but that they should be tormented five months ... [v. 6] And in those days shall men seek death, and shall not find it; and shall desire to die, and death shall flee from them.
Finally, fragment (1) begins as fragment (j), before in its last four chords transforming music from «7B:5 into a regular semiquaver rhythm (cf. the relationship of fragment (a) to A:l). The evidence of colour associations with these materials is at first sight inconclusive. e. modes 2, 3, 4 or 6), while the transposition of mode 2 found in segment (d) is that which he described to Claude Samuel as being dominated by gold and brown. The various 'chords of resonance' can provisionally be linked with colours through their association with mode 3 - and indeed Messiaen's association of his synaesthetic perceptions with phenemona of resonance would suggest it is here that the most certain examples of colouration might be found.