GAKA II， ABSTRACTION OF HETEROPHONY， for Soprano， Clarinet， Violin and Two Pianos（1987）

GAKA Ⅰ，Ⅱ，Ⅲ and Ⅳ are a series of works from 1986 to l988 when I was devoted to explore possibilities of heterophonic style in my music. Together with my other contemporary works such as Heterophony of Two Pianos and Orchestra (1987) and the final version of Heterophony for String Quartet (1988)， the four pieces can be seen as the starting point of my subsequent heterophonic compositions. In composing the four GAKAs， I applied four distinctive types of heterophonic style.
[GAKA II]
The heterophony in this piece is comprised of lines of tones played almost like unison grazing each other. The tones of voice， flute， clarinet and violin have different sound wave patterns and the trills of pianos create overtones. The lines of these tones form unison making slight differences like moir? pattern or ooze in the visual arts. I intended to create the heterophony whose texture comes from the tone duration at a specific pitch with the different tone colors. As each timbre of the voice and instruments has a different mechanism of sound emission and the relative intensity of overtones， subtle pitch differences are produced among them. These small differences make beat tones that seem like dissimilation effect and sound as a part of heterophony. I also aim to generate the acoustics in which sounds cross each other with a sense of perspective. Since this work， the heterophonic style has developed in my orchestral composition in various ways. The word A-U-M in soprano is a mantra representing three major gods of Hinduism.