Electric Counterpoint-Fast-III--revision

Description

Flashcards on Electric Counterpoint-Fast-III--revision, created by Becca Lyes on 29/11/2015.
Becca Lyes
Flashcards by Becca Lyes, updated more than 1 year ago
Becca Lyes
Created by Becca Lyes almost 9 years ago
16
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Resource summary

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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