Chapter VII: Rhythmic Notations

Original: Pages 28–30 in Satterfield translation

Musical Examples:

• Example 63
• Example 64
• Example 65
• Example 66
• Example 67
• Example 68
• Example 69

Supplementary Examples:

• Example A
• Example B
• Example C
• Example D
• Example E
• Example F
• Example G

Overview

This brief but essential chapter addresses the practical problem of notating ametric rhythms within conventional notational systems. Messiaen presents four distinct notational strategies, each with specific advantages and limitations, reflecting the tension between compositional conception and performative reality. The chapter acknowledges that no single notation perfectly captures ametric complexity—composers must choose among compromises based on practical considerations like performer ability, ensemble size, and the specific rhythmic relationships being notated. The supplementary examples demonstrate that Messiaen occasionally employs traditional metric rhythms that do not follow his systematic innovations, revealing a pragmatic eclecticism alongside theoretical rigor. This chapter functions as both practical manual and theoretical reflection on the limits of musical notation—the gap between compositional thought and its visual/symbolic representation.