[continued]
The tenor-drum/bass-drums motive in measure 1 (Example 1) and its expansion in measures 4-6 (Example 2) are germinal both articulatively (that is, in providing groups of attacks) and rhythmically, since the rhythm reflects a natural stick-movement in articulating several drums in a groups, in quick succession and in repeated strokes. Thus, articulatively, this tenor/bass-drum motive not only leads to such obvious developments as the triplets at measure 44 (Example 3) but also to such registral expansions as the bongos part at measure 23 (Example 4) and the wood-blocks part at measure 27 (Example 5).
At the opening, Texture I is defined by the “gong” sonority (on low, sustaining metal instruments), the membrane attacks, and changing intensity on instruments of related timbre (Example 10). The hand cymbals, producing a sustaining sonority, should nonetheless be regarded as part of the group responsible for the changing intensity, since when cymbals are played a 2 there is a discernible amount of fluctuation in intensity.
Texture II is initially defined, at measure 9, by the parade drum, bongos, maracas, deep bass drum, and hand cymbals.
The characteristics of Texture III are provided by the multiple-bounce instruments in a chordal movement against the linear progression of the tarole 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 complementary to each other at the given pace.
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 serving as rhythmic counterpoint to the bongo motive.