THE ELECTRONIC WORKS OF GYÖRGY LIGETI AND THEIR ...

example, the reverberation of the final gesture of Region B lingers over into the beginning
of Region C. Region C, however initiates two events after the beginning of Region
D–events drifting downward in pitch and decreasing in volume which fall in spaces
between events of Region D. While this is not a dramatic difference from what has gone
before, it is the first step in a gradual but important process through the course of the
piece.
Region D
Region D (34"-48") is defined by much noisier and drier sounds which occupy a
very wide range, expanding upwards to 6744 Hz, with fainter partials even active around
13,000 Hz–a range that we will find is more typical for the rest of the piece. Region D is
divided into two parts, the first of which shows certain patterns in contour and duration,
and the second of which is more scattered in register, and consists of mainly shorter
durations not participating in discernable patterns. Thus Region D creates a kind of two-
part form, although one based on discontinuity rather than on parallelism, as was the case
in Region C. 30
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What I identify as the two parts of Region D appear as separate subsections of Part A (A3 and A4) in
Ligeti’s sketches. I choose to group them together in one region because of their strong connections,
particularly consistency in channel and the use of diffuse sounds. Regarding Region D as a two-part
construction is also creates a clear trend from Region C to Region E, which I will discuss below.
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