Reich: Electric Counterpoint (Third Movement)

Question 1

Instrumentation

Answer 1

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

Question 2

Structure

Answer 2

• Movement builds up in three 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 quaver motif is next introduced in the bass guitars.
  3. A more sustained motif, built around three chords, begins in the live guitar part and is then transferred to others parts.
• Layers 2 and 3 fade out together leaving layer 1 to continue to rest on a held chord.

Question 3

Dynamics

Answer 3

• The overall dynamic remains fairly constant throughout.

- Parts gradually fade out in a number of places.

Question 4

Harmony and Tonality

Answer 4

• Largely in key of G major, with shorter sections towards the end in Eb major and it is entirely diatonic.
• Reich uses hexatonic scales, the first motif uses six notes of the G major scale.
• Convectional harmonic progressions aren’t used, the final chord for example is made of only two notes B and E; there is no cadence and is an incomplete chord, unsure whether piece has finished G major.

Question 5

Rhythm, Metre and Tempo

Answer 5

• The main metre is 3/2- 3 minim beats per bar, and each minum is split into 4 quavers, so there are 12 quavers per bar.
• The tempo is 192, 192 crotchets per minute, very fast.
• There is frequent syncopation.
• There is little rhythmic variety- most of the piece has repeating patterns of quavers.

Question 6

Rhythm, Metre and Tempo 2

Answer 6

• Reich uses an effect called metrical displacement, guitars 1-4 play the same motif but start in different parts of the bar, so sound out of synch with eachother.
• Near the end some parts go into 12/8 while others continue in 3/2 and is an example of polymetre.

Question 7

Melody and Texture

Answer 7

• Melody is made up of a one-bar motif and is repeated continuously to form an ostinato.
• The motif is introduced by the live guitar and top four guitar parts at different types, creating a canon.
• This piece has a contrapuntal texture.

Question 8

Melody and Texture 2

Answer 8

• In some parts Reich builds up the melody through the process of note addition. meaning notes are gradually added to a part until all the notes are heard.
• 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.

Question 9

History

Answer 9

• Electric counterpoint was written for the famous jazz guitarist Pat Metheny, who gave the first performance in 1987.
• It is in three movements, which follows a fast-slow-fast, we are studying the third movement.