Reich: Electric Counterpoint

Question 1

phasing

Answer 1

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

Question 2

cell

Answer 2

short musical ideas

Question 3

note addition

Answer 3

a method of developing cells in minimalist music by gradually adding notes to the origina cell

Question 4

note subtraction

Answer 4

as for note addition, but taking notes away

Question 5

loop

Answer 5

a section of a piece of music which is edited so that it can be repeated seamless

Question 6

modal

Answer 6

referring to modes - the precursors of modern scales

Question 7

resultant melody

Answer 7

a new melody produced when a variety pf [arts each play their melodies at the same time

Question 8

tonal ambiguity

Answer 8

when the key of a piece is uncertain

Question 9

features of minimalist music

Answer 9

1. the repetition of simple ideas with small changes introduced gradually over time
2. melodies slowly build up through the process of note addition
3. layered textures
4. diatonic harmony
5. slow harmonic rhythm
6. little variety in instrumentation

Question 10

other minimalist composers

Answer 10

Phillip Glass & John Adams

Question 11

when was it first performed and by who?

Answer 11

1987 by Pat Metheny

Question 12

how many movements is Electric Counterpoint?

Answer 12

3 movements (fast-slow-fast) we are studying the third movement

Question 13

instrumentation

Answer 13

1. this movement is for live guitars, accompanied by parts for seven guitars and two bass guitars that have been pre-recorded
2. the live guitar is amplified to blend in well with the backing tape

Question 14

structure

Answer 14

the movement builds up in 3 layers:

1. a syncopated quaver motif is introduced in the live guitar and top four guitar parts, one part at a time
2. a new syncopated motif is next introduced in the bass guitar
3. 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

Question 15

melody and texture

Answer 15

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

Question 16

rhythm, metre and tempo

Answer 16

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

Question 17

harmony and tonality

Answer 17

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.

Question 18

dynamics

Answer 18

the overall dynamic remains fairly constant throughout

parts gradually fade out in a number of places