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Melody | 3 different ostinatos patterns that are repeated throughout 1. Bar 1 – All the parts play this ostinato throughout apart from the bass guitars 2. Bar 24 – Only played by the bass guitars 3. Bars 38 & 39 – 3 chord pattern | Accompaniment | All the guitars accompany the main ostinato patterns | Dynamics | Crescendo (gradually getting louder) at the endConstant dynamics in the rest of the pieceParts fade out | Texture | Layered Texture constantly varied and builds up in layers. It is Polyphonic.The use of multitracking is when instruments are recorded on top of each other, which is added to the texture by layering. | Structure | The piece is spilt into 2 main sections and a coda.Each main section is divided into 4 smaller sections with a different meter and key signature. | Harmony | No cadences and all the harmonies are diatonic. | Instruments | 8 Guitars (1 live guitar) and 2 bass guitars | Rhythm | Lots of syncopationThe same rhythms are repeated through most of the piece so there is little rhythmic variety. | Tonality | E minor but changes constantly to C minor.Reich uses Tonal Ambiguity (when lots of motes are not in the key to make it confusing in what key the piece is in) | Speed | 3/2 and 12/8This particular movement is called ‘Fast’ so its tempo is one crotchet beat = 192. |
Electric Counterpoint

Other Information: * Steve Reich composed this minimalist piece in 1987. * Lots of note addition is used, meaning notes are added slowly and gradually throughout the piece, building up the melody. * The original guitar player was Pat Methany. * Electric Counterpoint has 3 movements (we are studying the third movement) 1st Movement | 2nd Movement | 3rd Movement | Fast | Slow | Fast | = 192 | =92 | =192

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