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Description
Flashcards by Becca Lyes, updated more than 1 year ago
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Created by Becca Lyes
almost 9 years ago
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| Question | Answer |
| In section A1 how is harmony and tonality used? | The Key is E minor but it is ambiguous (not clear) because we have not heard any D#. |
| In section A1 how what is the texture like? | Guitars 1-4 enter in this section. Once all guitars have entered we can hear a 'four-part cannon'. Live guitar uses note addition to build up to motif 1 and so does guitar 4. |
| In section A1 how does Reich use rhythm and tempo? | There is a clear triple metre. Also guitars 2, 3 & 4 have displaced motifs. Guitar 2's motif 1 is displaced by 1 crotchets. Guitar 3 is displaced 5 1/2 crotchets and guitar 4 is displaced by 2 1/2 crotchets. |
| What happens in section A2? | Bass guitar parts 1 & 2 enter (B24). The parts reinforce the triple metre feel. A 2 bar bass ostinato gradually builds up with note addition playing it in full at B33. Now the key (E minor) is definite. A technique called panned sound is used on the bass parts. Usually this is bad practice but 1 bass guitar from each speaker balances the sound out. The live guitar plays resultant melody. |
| What happens in A3? | Live guitar plays strummed chords (B36). Adds dramatic effect to texture and sound percussive. The first chord it plays is C with 2nd inversion, this means it is played GCE, instead of CEG. The note C is played in the middle therefore it is 2nd inversion. Guitar 5 enters with chord sequence (B40)which is in unison with live guitar. Guitar 6 enters (B52) Chords sound separate but overlap to make more complex chords. When guitar 7 enters (B64) all guitars are playing and rhythmic counterpoint is introduced. Sounds like all the guitars are always playing but the chords are just overlapped and therefore form complex chords. |
| What happens in A4? | Live guitar stops playing chords and plays resultant melody. The melody gets slightly louder with crescendo. |
| What happens in section B5? | The key changes to C minor (B74). It is surprising with little preparation and signals the beginning of section B. The texture stays the same. |
| What happens in B6? | Key changes back E minor. No preparation for key shift (B82). Metre also changes to 12/8 in all parts but guitars 1-4. The change is not obvious. The bass parts play a new ostinato (B82) Metre shifts back to 3/2 (triple metre) (B86) and the bass ostinato changes back to the original ostinato it played, heard first at B32. Bass guitar 1 is inverted and adds 1 additional note. |
| What happens to the key and metre in section B7? | Key returns to C minor. Metre now continues to change every 4 bars. |
| What happens in section B8? | Return to E minor (B98). Shifts in key become more frequent and build tension. Guitars 5-7 and bass parts begin to fade out (B106) gradually to start with but at B113 they fade more quickly |
| What happens at the coda? | Texture returns to four part cannon (B114) and ostinato 1. Guitars 1-4 are now playing resultant melody. Shifts in key and metre continue until B126 when it is clear that the piece will end in E minor Piece ends with crescendo and all parts play E5 chord. |
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