Karteikarten
Electric Counterpoint-Fast-III--revision
Karten in diesem Stapel (11)
- 1In 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#.
- 2In 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.
- 3In 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.
- 4What 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. - 5What 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. - 6What happens in A4?Live guitar stops playing chords and plays resultant melody.
The melody gets slightly louder with crescendo. - 7What 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. - 8What 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. - 9What happens to the key and metre in section B7?Key returns to C minor.
Metre now continues to change every 4 bars. - 10What 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 - 11What 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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- Beschreibung
- Karteikarten am Electric Counterpoint-Fast-III--revision, erstellt von Becca Lyes am 29/11/2015.
- Erstellt von
- Becca Lyes
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