It shows a vivid development through which the harmonies are not static, and the melodic line's shyness is now non-existent. Indeed, the tone of the Fifth Quartet is a vivid one which is set in the opening bars. The sweet bell-like announcement with a pluck and a shimmer leap up through the instruments transforming the Glass trademark arpeggio. This quartet is a study in contrasts. It shows absurdly fast moving scale passages and fast rhythmic sections contrast with the slow chordal progressions.
Dynamics are as abrupt.
The skill in this work lies in Glass's effortless ability to resolve the contrasts. The second movement, syncopated, swaying, barcarolle-like melody in shifting meters alternates with the plucked and bowed chords of the introduction, combined by a rocking bass pattern. In the third movement, a continually evolving dance-like figure initially alternates with a more regular, driving rhythmic passage, but gradually the two come together to form a transition to the blissful, long melodic lines of the next, slow movement. A quicker middle section to that movement prepares nger units being subdivided into smaller units. The Indian musician, on the other hand, works with much larger units that are created by bringing smaller units together which have a structure different from that of larger units they finally form.