Symphony No. 3
1st movement: 'Outer Movement'

By Erling Kullberg



Harmony
The harmonic universe of the symphony is established in the first major section, in which the basic material of the work is presented in the vertical dimension: the overtone and undertone spectra - 'the harmonic infinity series'.

A spirited attack on the low C2 leaves a resonance in the overtone spectrum, with the note D (9th partial) as the highest. This note, which is in the middle of the whole register - the 'Sun note' - becomes the goal of the downward-seeking overtone spectra, falling down like harmonic stardust from the upper registers towards the fundamental. It gradually becomes apparent to the ear that these falling cascades of overtones seek downwards towards different fundamentals (D, B, and G), though they all belong to the overtone spectrum of G.




The music points with increasing clarity to the note G, which duly arrives on the scene, attended by the whole overtone spectrum played with pomp and circumstance on the trombones.


Rythm

The harmonic universe of the symphony - its harmonic codex, based on the harmonies of nature itself (= overtones and undertones) - is now established.

This major section introduces the grammar of the work's rhythmical dimension.

At the end of the last section the music stiffened to a trill on the notes A-G sharp. This trill develops into the two-tone infinity series.



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