This lack, especially in the voices, lends a spectral quality to the piece. Even later in the piece, when the timbres of the various voices -- the strings especially -- grow in richness and fullness, this spectral quality remains. The various timbres of the piece, though necessarily different, sound very similar to each other, due in part to the repetition of the melodic line, but mostly because of conscious manipulation of the individual timbres.

There are far fewer voices in Chidori no Kyoku, and their timbres are far more distinct from each other. There are still strings and a human voice, as well as a woodwind, and these three voices are united -- though not identical -- in melody, but are entirely unique in timbre. The woodwind, flute-like instrument is soft yet very rich; different from the soft flatness at the beginning of Debussy's Nocturne and the intense fullness later...
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