Reich: Electric Counterpoint Flashcards
phasing
when two or more versions of a sound or musical motif are played simultaneously but slightly out of synchronisation, with the two parts gradually coming back in sync after a number of repetitions
cell
short musical ideas
note addition
a method of developing cells in minimalist music by gradually adding notes to the origina cell
note subtraction
as for note addition, but taking notes away
loop
a section of a piece of music which is edited so that it can be repeated seamless
modal
referring to modes - the precursors of modern scales
resultant melody
a new melody produced when a variety pf [arts each play their melodies at the same time
tonal ambiguity
when the key of a piece is uncertain
features of minimalist music
- the repetition of simple ideas with small changes introduced gradually over time
- melodies slowly build up through the process of note addition
- layered textures
- diatonic harmony
- slow harmonic rhythm
- little variety in instrumentation
other minimalist composers
Phillip Glass & John Adams
when was it first performed and by who?
1987 by Pat Metheny
how many movements is Electric Counterpoint?
3 movements (fast-slow-fast) we are studying the third movement
instrumentation
- this movement is for live guitars, accompanied by parts for seven guitars and two bass guitars that have been pre-recorded
- the live guitar is amplified to blend in well with the backing tape
structure
the movement builds up in 3 layers:
- a syncopated quaver motif is introduced in the live guitar and top four guitar parts, one part at a time
- a new syncopated motif is next introduced in the bass guitar
- a more sustained motif, built around three chords, begins in the live guitar part and is then transferred to other parts
after all three layers have been built up, layers 2 and 3 face out together, leaving layer 1 to continuo until it comes to rest on a held chord
melody and texture
the melody is made up of a one-bar motif that is repeated to form an ostinato
this motif is introduced by the live guitar and the top four guitar parts at different times, creating a canon
in some parts Reich builds up the melody through note addition
at one point the live guitar plays a melody that is made up from selected individual notes from the other guitar parts, creating a resultant melody
the piece has a contrapuntal texture
rhythm, metre and tempo
the main metre is 3/2 - three minim beats per bar. Each minim is split into four quavers, which means there are 12 quavers per bar.
the tempo is ♩= 192, so there are 192 crotches per minute - a very fast speed
there is little rhythmic variety - most of the piece is made up of repeating patterns of quavers
there is a frequent syncopation
metrical displacement - guitars 1 to 4 play the same motif but start in different parts of the bar (they sound out of synch with each other)
polymetre - towards the end some parts go into 12/8 and others continuo in 3/2
harmony and tonality
The music is largely in the key of G major, with some shorter sections towards the end in E♭ major. It is entirely diatonic.
He uses hexatonic scales (e.g. first motif is hexatonic)
No cadences are used. The piece ends on two notes, B and E, therefore we aren’t entirely sure in what key the piece finishes.
dynamics
the overall dynamic remains fairly constant throughout
parts gradually fade out in a number of places