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Reich - Electric Counterpoint (Minimalism (Music built from loops/…
Reich - Electric Counterpoint
Rhythm and Metre
Layered, rhythtmic ostanti
Constant tempo throughout
Constantly changing metres
Starts in 3/2
After bar 82, time signature is 12/8
Structure
Section A
Bars 1-23:
- Four-part guitar canon
Resultant melody played by Live Guitar
Clearly centred on E minor
In 3/2 time, triple metre
Bars 36-66:
- Strummed chords in Live Guitar part
New rhythmic counterpoint from Guitars 5, 6, 7
Bars 24-35:
- Bass guitars enter at bar 24
2 bar Bass ostinato gradually introduced
Live Guitar still playing resultant melody
Bars 67-73:
Live guitar returns to playing resultant melody
Section B
Bars 74-8:
Same texture as previous section but:
Sudden key change to C minor
Bars 82-89:
Key shifts back to E minor
Metre changes to 12/8 but
Guitars 1-4 stay in 3/2
New Bass ostinato
Bars 90-97:
Return to C minor
Metre changing every 4 bars
Bars 98-113:
Back to E minor
More frequent changes in key and metre build tension
Guitars 5-7 & Basses start to fade out
Coda
Bars 114-140
Four-part guitar canon returns
Ends in E minor
Melody and Pitch
There is a resultant melody
The pitches aren't very varied
Guitars 5-7 stay in the mid-range
The composition is made up of layered ostinati
Harmony and Tonality
Reich uses tonal ambiguity
Aeolian mode
Section B is in C minor which provides contrast
At the beginning of the piece, the bass guitars confirm E minor (even though it's in Aeolian mode)
Minimalism
Music built from loops/ ostinati
Repeated ideas the gradually develop and change
Phasing
Metamorphosis (gradually changing shape on note at a time)
Note addition/ subtraction
Rhythmic Dislpacement
Instrumentation
Piece comprises of 7 electric guitars and 2 bass guitars
The live guitar plays the resultant melody
The guitar loops are pre recorded