Electric counterpoint - Steve Reich Music in the 20th Century

Electric counterpoint - Steve Reich Music in the 20th Century

1. Texture

   • Contrapuntal

2. Harmony + Tonality

   • Mainly in G major
   • Some sections in Eb
   • Hexatonic scales
   • No cadences

3. Dynamics

   • Remains fairly constant

4. Background information

   • Written for jazz guitarist Pat Metheny
     • First performed electric counterpoint in 1987
   • Third movement

5. Minimalist composing techniques

   • Additive melody
     • A note is added each time the loop is repeated
   • Subtractive melody
     • A note is taken away each time the loop is repeated
   • Metamorphosis
     • The notes of the pattern change over time
   • Phase shifting
     • Two or more patterns if different length are played at the same time making them go out of sync
   • Layering
     • a 4 beat loop and a 5 beat loop being played at the same time.
   • Resultant melody
     • A melody is made up from different instruments playing different selected notes

6. Instrumentation

   • 1 Live guitar
     • Amplified
   • 7 pre-recorded guitars
   • 2 pre-recorded bass guitars

7. Structure

   • Builds up in 3 layers:
     • 1. Syncopated quaver motif is introduced in the live guitar and top 4 guitar parts, one at a time
       • 2. Syncopated quaver motif introduced in bass guitars
         • 3. More sustained motif built around 3 chords, begins in live guitar, then transferred to other parts

8. Melody

   • made up of a one-bar motif
     • Repeated continuously to form an ostinato
     • Introduced by live guitar and top 4 guitars at different times, creating a canon
   • Melody built up through additive melody in some parts
   • Resultant melody can be heard at one point

9. Rhythm, meter + tempo

   • Rhythm
     • Repeating patterns of quavers
     • Frequent syncopation
   • Meter
     • Mainly 3/2
     • Some parts go to 12/8 towards the end
   • Tempo
     • 192
     • Very quick