Part I

Much less needs saying about the role of the orchestral score as an analytic tool, simply because it is the analyst's usual tool, at least for instrumental music. It has already been mentioned in its supporting role in examining the relationship between the orchestra and tape. This score gives us a note-based view of the piece which, as with the basic spectromorphological descriptive process can be characterised as bottom-up (small to large scale). Its strength in the analytical process is that we have very detailed information about the orchestra. For instance, this allows us to plot the textural changes effected by the orchestra during the first four minutes of the piece. This is a process which we can hear but we are unable to discern enough detail aurally to uncover its makeup. The orchestral score allows us to move into the detail of this process, identifying aspects of its structure (as will be seen in part two). The note-based view of the piece that this score gives us can also be applied to hearing and understanding some aspects of the electroacoustic part of the work. A clear example of this will be seen in the analysis given of the central tape solo, which relies on a note-based view to uncover some of its (perceived) structure.