Music is inherent in Tom Thomson’s The West Wind (1917) and Lawren Harris’ North Shore, Lake Superior (1926). Their themes are enough alike to associate the two works. That is to say, both paintings depict the movement of clouds, water, light and the momentum of the land in relation to the subject, a tree; however, each has its unique way of describing this motion. Thomson’s subject is a poetic metaphor for the tree as the harp of the wind. Its constant motion is flowing and vibrant in that the tree ‘resonates’ in unison with the undulatory movement of its surroundings. One can imagine floating through the arc of Thomson’s tree. Harris’ depiction of an erect dead tree trunk is a sculpture rather than a painting. The effect of its hard lines is austere, yet the trunk is shapely and polished to the point where it seems corporeal. The horizon line is very low, thus the trunk is set against a blue sky and clouds. The clouds are equally precise in line and allude to the human form in their perfect roundness and evenly spaced creases. Straight shafts of light illuminate the left side of the tree, adding to the sublime shimmering of the entire work. Harris’ painting resonates pure tones. His tree is more like a tuning fork and is ultimately the source of movement. I modelled my musical textures after these two paintings. I composed dense polyphony in which the voices work harmoniously to resonate a composite fabric — Thomson’s reverberating environment. I created a pseudo-monophonic texture in which distinct voices co-operate to form one melody — Harris’ single source of vibration. Asynchrony is another noteworthy feature of this composition. Melody and harmony are never vertically aligned, except for a few short episodes. For example, two voices playing the same melody do not play the same note simultaneously — never together on the beat. Asynchrony is also applied to the macrostructure. For instance, the opening half-minute of the piece has an almost cadential, terminating, quality. The conflict is this: how can several voices resonate as a single body, and at the same time, be asynchronous? How can a composition of conflicting elements yield a fulfilling musical whole?