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Ionisation: The
Function of Timbre
in Its Formal and
Temporal
Organization
Originally published in Die Reihe, 1978; later published
in Monograph, Institute for Studies in American Music,
1979
Ionisation (1930), as we now recognize it, is the first and the most consummate
work to explore the structural value of all non-pitch properties of sound
more than in any other score, Varèse reveals to an extraordinary degree not
only his concepts and techniques but also the profundity and imagination with
which he crystallizes (to borrow one of his own favorite expressions) his ideas:
in this case, hewn from raw sonic material that offers no definite pitch or
1. Metal
gong, tam-tams, and rim shot (on tarole, snare drum, parade drum, and
tenor drum).
2. Membrane
Bongos, snare drum without snare (Player 8), tenor drums, and bass drums.
3. Snare
Tarole, snare drum with snare (Player 9), and parade drum.
4. Wood
functions: [1] generating germinal ideas, [2] defining textures, [3] linear
sections, [6] “modulation” in timbre and register, and [7] providing special
acoustic characteristics.
While this section is introductory in character, the first four measures serve in
a gong sound: attack (tenor drum and bass drums); steady state (gong and
tam-tams); growth and decay (sirens, snare drum without snare, and
cymbals). Elements from this texture are seldom absent throughout the piece.
kind of textural “pedal,” with metal serving as the timbral “center” of the whole
measure 13, where in quick succession Texture I and II lead on to Texture III, at
III. Many diluted sonorities from Texture I are also present (especially after
Texture III (the parade drum’s register also being lowered by the use of felt
sticks) and partly to allow bongos to exchange material with parade drum.
Section 5 (measures 38-50): Verticalization of Textures
linear movements from the same textures (on parade drum/tenor drum and
three cross-rhythm.
This return is marked by an all-metal sonority (except for the sirens). The bass-
The prominent presence of anvils and the greater emphasis of the “gong”
sonority (including sirens) create a markedly different overall texture from that
of sonorities of all three textures. It begins with the all-metal sonority of Texture
is, in providing groups of attacks) and rhythmically, since the rhythm reflects a
motive not only leads to such obvious developments as the triplets at measure
2. Defining Textures
At the opening, Texture I is defined by the “gong” sonority (on low, sustaining
and wood blocks, which proceeds at a pace doubling that of Texture II. Texture
III is also timbrally coordinated, since the sonorities of the two groups are
3. Linear Elaborations
All of the instruments responsible for articulating the linear movement in the
three textures (namely bass drums, tenor drums, parade drum, bongos,
maracas, tarole, and wood blocks) actively take part in linear elaborations by
expanding upon the rhythmic cells identified with the three textures and by
4. Verticalization of Textures
The vertical aggregate at measure 38 is actually formed of two groups that are
where the maracas, deep bass drum, and cymbals are actually in 3/4 while the
parade-drum part is in 4/4; the bongos part is naturally also in 3/4 except in
measure 11, where the quarter-rest is elided as the bongos adjust to the phrase
colotomic principle found in such music as the Indonesian gamelan and the
Korean hyang-ak.
The first instance of a timbral modulation takes place at the conclusion of the
bass drums effects a sudden reversal in both register and timbre as the tarole
raises the register of the snare sonority and ushers in a group of high-pithced
multiple-bounce instruments.
7. Special Acoustic Characteristics
the speed with which the rotating disk is made to turn. With the gradual
change in intensity, there is also a minute but discernible change in pitch and
timbre. It is perhaps for these acoustic characteristics that the sirens are used
in Texture I.
The string drum is the only instrument that shares these acoustic
The piano, glockenspiel, and chimes are treated as metal instruments that are
enrich the “gong” sonority and to broaden the total range of the metal sonority.
The initial figure on the tenor drum and bass drums and its expansion at
inviolable rhythmic motive. The idea of a two-note rhythmic cell (either short-
short values) for moving the sticks from one to another of a group of
This expanded version of the bongo motive first appears in superposition with
the (c) figure cited above, as counterpoint to it, and then proceeds in the next
The bass drums in measure 5 are the midpoint of a brief timbral modulation to
4. The Quintuplet
gets underway, the quintuplet appears in the guiro part at measure 31, where it
5. The Triplet
demarcating Texture I. Here and at measure 12 the triplet joins the string drum
At measures 66, 68, and 74, the triplet is incorporated in the rhythm of the
syncopations, both already suggested by the bass-drum motive. The ruffs are
not only used later to expand the parade-drum motive, but also become part
of Texture III’s rhythmic scheme in the form of fast repeated notes on the tarole
and wood blocks, short rolls on the sleigh bells and tambourine, and grace-
notes on the castanets, all of which can be seen in Example 24. The most
initially conceived.
4. Although some of the rhythmic cells evolved out of these germinal ideas
identifiable textures.
growth or evolution.
The choice of instruments for defining the three basic textures indicates
the gradual shift from the first to the third texture is the increasing
9. Dynamics are, in the context of this piece, by and large the means to
sharpen the definition of texture and to focus on certain interrelations in
10. The three basic textures interact in superposition and by means of linear
Concluding Remarks
The above are of course only observations, not all of which can be
demonstrated as part of Varèse’s planning for the work or details arising out of
According to Louise Varèse, Ionisation is the work that Varèse was most
satisfied with and proud of. This is in part reflected in his letter to Carlos
Salzedo dated December 17, 1931: “Ionisation (title of my piece for percussion)
has turned out well — cryptic, synthesized, powerful, and terse. And, as for the
By Chou Wen-chung
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