The A section of the piece is from rehearsal 1 through rehearsal 32 and is characterized by sustained (arco) and often microtonal clusters of pitches. Additionally, these measures are based on the material category of metal. The B section begins at rehearsal 32 and goes to rehearsal 44. This section contrasts with the arco techniques in the A sections. It contains such percussive techniques as; battuto col legno (strike the strings with the wood of the bow); taps con dita (with fingers) between the bridge and tailpiece; pizzicato and pizzicato con due dita (plucked with two fingers). Also, from measures 38–43 a shift occurs to the material category of wood. Techniques in this section include strings struck with the palm of the hand, taps on the sound board with fingertips, and strikes on the stand with the bow or the chair with the nut (stands and chairs at the time were made of wood). Measures 42–45 are based on wood and metal, with a mix of the techniques described above. This section “mediates” the marked opposition of the metal and wood. The A’ section comes back to typical arco style, but includes bowing between the bridge and tailpiece and bowing the bridge and tailpiece. This overall timbral scheme of Polymorphia is metal-wood-metal, and helps to reinforce the ABA formal structure. Finally, the piece closes with a C Major triad distributed throughout the orchestra. This serves as a coda as well as a kind of release of the tension created by the microtones and unfamiliar timbral effects of the composition. In a 1977 interview with Composer magazine, Penderecki claimed that the C major chord was the seed from which the entire composition grew. Adrian Thomas interprets Penderecki's claim as "theoretically arguable and indeed the preceding emphases on certain pitch classes and the open clusters may retrospectively be seen to augur such a conclusion. The value of the C major triad lies not in any putative harmonic consequentiality that confirms a traditional process but in its radical challenge to what Penderecki had established as his norms." Temporal notation Due to the nature of the timbre system, Penderecki had to devise a system of notation to properly convey his intentions. Many aspects of traditional notation are restructured, such as the traditional use of measures. Instead, the score is divided into sections, with each section given a length in seconds. The lengths of the