Electric Counterpoint 3rd movement By Steve Reich
Electric Counterpoint. 3rd movement. By Steve Reich. Instruments. •. 7 electric guitars. •. 2 bass guitars. •. Solo guitar part (who plays along with a
Steve Reich Background: Electric Counterpoint is the last in a series
Electric Counterpoint was commissioned for the jazz guitarist Pat Metheny to In the 3rd movement (fast) there are 7 pre-recorded electric guitar parts ...
Steve Reichs Phases of Phases: A Comparison of Electric
more traditional and directed approach to melody and harmony than Electric Counterpoint.10. Overall Radio Rewrite is
Adapting Reichs Electric Counterpoint for Marimba and Vibraphone
“Electric Counterpoint” begins with a 109-measure introduction of undulating eighth notes in guitar parts 3–8 with the two bass guitar parts in octaves. After.
The Art of Composing: How Steve Reichs music has influenced Pat
In addition to the connection that minimalist composer Steve Reich and jazz guitarist Pat. Metheny have in Reich's 1987 Electric Counterpoint
Barbican
8 May 2019 Counterpoint; Guildhall Wind Ensemble performing Terry Riley's ... 14:00-14:40 – Steve Reich: Electric Counterpoint (amplified performance).
Barbican
19 May 2019 The Lakeside Terrace will feature electric guitarists from Dither and Zwerm performing Steve Reich's Electric. Counterpoint; as well as ...
Minimalist Composition Task for Distance Learning
You can also use any rhythm you like if you are happy with this: think of Electric Counterpoint. This uses lots of interesting rhythms! The main features of
New York celebrates Steve Reich@70
for whom they were written: Electric Counterpoint played by guitarist Pat Metheny; Different Trains
Análise de Procedimentos Imitativos na Obra Electric Counterpoint
Electric Counterpoint de Steve Reich. Na obra “Electric Counterpoint”
Electric Counterpoint 3rd movement By Steve Reich
Electric Counterpoint 3rd movement By Steve Reich Structure In two section A B—binary form Section A Starts with one guitar playing a one-bar ostinato then each of the remaining guitars are gradually added Suggests key of E minor Section B Big key change to C minor All parts playing
What is Electric Counterpoint?
Electric Counterpoint is in three movements; fast, slow, fast, played one after the other without pause. The first movement, after an introductory pulsing section where the harmonies of the movement are stated, uses a theme derived from Central African horn music that I became aware of through the ethnomusicologist Simha Arom.
How many guitars does Electric Counterpoint have?
Guess The Excerpt!!! Electric Counterpoint: III. Fast, composed by Steve Reich. Transcription for 8 guitars (including live track) and 2 bass guitars. Electric Counterpoint (III.
Who wrote Electric Counterpoint 3 fast?
25 seconds of "Electric Counterpoint III Fast" performed by Pat Metheny. Composed by Steve Reich. Problems playing this file? See media help. Electric Counterpoint is a minimalist composition by the American composer Steve Reich. The piece consists of three movements, "Fast," "Slow", and "Fast".
What makes Reich’s Electric Counterpoint so special?
While on Different Trains, Reich experimented and came out with a huge success, on Electric Counterpoint, he reverts to his old methods and makes a piece based on pulses and phasing, not unlike Music for 18 Musicians.
Electric Counterpoint: Steve Reich
Background:
Electric Counterpoint is the last in a series of 3 pieces for soloists playing along with pre- recorded multi-track tapes of themselves. Electric Counterpoint was commissioned for the jazz guitarist Pat Metheny to perform at the is a way for the performer to perform in an ensemble with himself). This piece takes the act of tape loop in a different direction- instead of using one, constantlyrepeating tape loop, the composer used the tape as a way of capturing the sound of one
performer (giving the whole piece a togetherness of sound that would not be possible using different performers.Electric Counterpoint is built up in layers.
In the 3rd movement (fast), there are 7 pre-recorded electric guitar parts and 2 bass guitars. The live guitar is then performed along with the recorded parts. The texture gradually builds up in the first section (section A), with the guitar parts entering in the following order: Guitar 1, Live Guitar, Guitar 2, Guitar 3, Guitar 4, Bass Guitars 1 and 2,Guitar 5, Guitar 6 and Guitar 7.
This piece is divided into 2 main sections with a coda. The main sections are then subdivided Into 4 small sections, each of which is defined by changes in key and texture. Ostinato: The piece begins with guitar 1 repeating a one bar ostinato. Note Addition: The live guitar part starts with 3 notes of ostinato 1, building up to the full ostinato by bar 6 using note addition technique. Layering: Guitar 2 enters in bar 7, playing ostinato 1, but one crotchet later. Resultant Melody: a new melody produced when a variety of parts each play their melodies at the same time: when all the parts have entered, the live guitar starts to play the resultant melody. The bass guitar parts are introduced at bar 24. The 2 bass guitars are panned to the left and right speakers-this balances the sound.At bar 36 the live guitar introduces a new idea by playing strummed chords. This has a
dramatic effect on the texture by introducing a new, rather percussive sound that cuts across the rest of the parts. The first big change of key to C minor at bar 74. This signals the start of section B. The key shifts back to E minor around bar 82 and then the pieces alternates betweens this key and C minor to create tension. At bar 106 guitars 5-7 and the two bass parts begin to fade out, gradually at first, but quickly at bar 113. The piece ends with a crescendo to a final E5 chord played simultaneously in all 5 remaining parts at the end of bar 139.Other key points:
Tonal ambiguity:
Modal:
Texture:
Rhythmic development:
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