Electric counterpoint - Steve Reich Music in the 20th Century

Texture
1. Contrapuntal
Harmony + Tonality
1. Mainly in G major
2. Some sections in Eb
3. Hexatonic scales
4. No cadences
Dynamics
1. Remains fairly constant
Background information
1. Written for jazz guitarist Pat Metheny
  1. First performed electric counterpoint in 1987
2. Third movement
Minimalist composing techniques
1. Additive melody
  1. A note is added each time the loop is repeated
2. Subtractive melody
  1. A note is taken away each time the loop is repeated
3. Metamorphosis
  1. The notes of the pattern change over time
4. Phase shifting
  1. Two or more patterns if different length are played at the same time making them go out of sync
5. Layering
  1. a 4 beat loop and a 5 beat loop being played at the same time.
6. Resultant melody
  1. A melody is made up from different instruments playing different selected notes
Instrumentation
1. 1 Live guitar
  1. Amplified
2. 7 pre-recorded guitars
3. 2 pre-recorded bass guitars
Structure
1. Builds up in 3 layers:
  1. 1. Syncopated quaver motif is introduced in the live guitar and top 4 guitar parts, one at a time
    1. 2. Syncopated quaver motif introduced in bass guitars
      1. 3. More sustained motif built around 3 chords, begins in live guitar, then transferred to other parts
Melody
1. made up of a one-bar motif
  1. Repeated continuously to form an ostinato
  2. Introduced by live guitar and top 4 guitars at different times, creating a canon
2. Melody built up through additive melody in some parts
3. Resultant melody can be heard at one point
Rhythm, meter + tempo
1. Rhythm
  1. Repeating patterns of quavers
  2. Frequent syncopation
2. Meter
  1. Mainly 3/2
  2. Some parts go to 12/8 towards the end
3. Tempo
  1. 192
  2. Very quick

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Electric counterpoint - Steve Reich Music in the 20th Century

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