...‘Third Movement From Electric Counterpoint’ by Steve Reich Background to Minimalism La Monte Young and Terry Riley were experimental composers who made the most of minimal musical resources to create a piece, using drones and repetition. Young wrote ‘The well Tuned Piano’ which includes improvisation and lasts for 6 hours. Riley experimented with tape loops combined with delay and instrumental sounds. Reich was part of the ensemble for the first performance of Riley’s composition ‘In C’, which repeats short musical fragments along with a constantly repeating quaver C keeping the pulse. Features of Minimalism Drones - a long continuous note or constantly repeated note Ostinato / loops - repeated musical ideas. Cells - the shortest musical ideas Phasing - two almost identical parts which go out of sync with each other and gradually, after a number of repetitions, come back into sync again Metamorphosis - gradually changing from one musical idea to another, often by changing one note at a time Layering - adding new musical parts, usually one at a time Note Addition - beginning with a simple, sparse ostinato, after a number of repetitions notes are gradually added Note Subtraction - beginning with a more complex ostinato, notes are gradually taken away Rhythmic Displacement - varying the notes to be accented in a musical phrase, or starting the same phrase in a different part of the bar [as Reich does with ‘ostinato 1’] Augmentation - Increasing the lengths of notes in...
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...Which features of minimalism can be found in Electric Counterpoint?|Repetition Small changes introduces gradually over time Note Addition Layered textures Diatonic Harmony (Uses scales/key relationships/chords) Slow harmonic rhythm (Chords change/progress slowly) Little variety in instrumentation|| |List some facts about Electric Counterpoint.|1. Composed by Steve Reich 2. First performed in 1987 3. Written for famous jazz guitarist Pat Metheny 4. It is written in the minimalist style 5. Written for live solo instrument plus pre-recorded tape.| |Describe the instrumentation in Electric Counterpoint.|It is for live solo guitar with 7 guitars and 2 bass guitars that are pre-recorded. The live guitar is amplified to blend with the pre-recorded tape.| |Describe the structure of the third movement of Electric Counterpoint,|The piece is divided into two main sections, A and B and has a Coda. Each of the sections A and B are further divided into 4 smaller sections. *A = Bars 1-73 *B = Bars 74 - 113 *Coda = Bars 114-140| |How would you describe the TEXTURE of this piece?|*4 PART GUITAR CANON - guitars enter with the ostinato one by one *Interesting rhythmic counterpoint created (parts interweaving to create an interesting texture) *Contrapuntal texture - title of piece is Electric COUNTERPOINT - this is because of the counterpoint created between the parts as they are heard overlapping and interweaving with each other.| |What can you say about the RHYTHM, METRE (TIME...
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...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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...Electric Counterpoint, by an American composer named Steve Reich, is a Minimalist piece which was written in the 1980s. It is the last in a series of three compositions for soloists playing along with pre-recorded multi-track tape loops. These loops being repeated leaves the note addition and resultant melody to the performer and the performing of it has been compared to playing in an ensemble with yourself. The piece is in binary form (AB) with 4 sections within the A and B sections and it ends with a Coda. At the start of the piece there is tonal ambiguity with hints at the key of E minor but this does not become clear until the bass guitar is introduced in part two of the A section. The three chord progressions used in A-3 are C Bm E5, C D Em and C D Bm. These chords make it clearer that the piece’s tonality is modal, specifically the E aeolian mode, because there is no F# in Em (as in the D chord) but there is in the aeolian mode. The most obvious indicator that the B section has begun is the change in key from E minor to C minor- and the piece switches between these keys frequently as the B section develops. The texture of the piece begins monophonically with a single guitar which starts as a one bar ostinato and then is full by bar six by using the note addition technique. Then layers are added and it becomes a four part guitar canon where the live guitar plays the resultant melody and it becomes polyphonic overall. In A-2 the bass guitar is introduced using the...
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...13/04/2011 Bajo eléctrico - Wikipedia, la enciclope… Bajo eléctrico De Wikipedia, la enciclopedia libre El bajo eléctrico (también llamado sencillamente bajo)nota 1 es un instrumento musical de la familia de los cordófonos, similar en apariencia y construcción a la guitarra eléctrica, pero con un cuerpo de mayores dimensiones, un mástil de mayor longitud y escala y, normalmente, cuatro cuerdas afinadas según la afinación estándar del contrabajo.1 nota 2 El bajo eléctrico, al igual que el contrabajo, suena una octava más grave de como se representa en notación musical, con el objetivo de evitar un uso excesivo de líneas adicionales en el pentagrama. Como la guitarra eléctrica, el bajo eléctrico necesita ser conectado a un amplificador para emitir sonidos. Desde la década de 1950, el bajo eléctrico ha reemplazado progresivamente al contrabajo en la música popular como el instrumento de la sección rítmica que se ocupa de las líneas de bajo.2 Aunque éstas varían notablemente en función del estilo de música, el bajista cumple una función similar con independencia del estilo de que se trate: establecer el marco armónico y marcar el tiempo o pulso rítmico.nota 3 El bajo eléctrico se usa como instrumento de acompañamiento o como instrumento solista en estilos de música diversos, incluyendo el rock, el heavy metal, el pop, el blues, el jazz, la música latina, el reggae, el funk o el flamenco.3 Bajo eléctrico Clasificación Instrumento de cuerda pulsada Tesitura Contenido ...
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...Media History Contents 1 Introduction 1.1 Mass media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1.1.1 1.1.2 1.1.3 1.1.4 1.1.5 1.1.6 1.1.7 1.1.8 1.1.9 Issues with definition . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Forms of mass media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Purposes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Professions involving mass media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . History . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Influence and sociology . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Ethical issues and criticism . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Future . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . See also . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 1 1 2 6 6 7 8 10 10 10 10 11 11 12 12 12 12 16 16 17 17 17 17 17 17 18 19 20 21 21 21 1.1.10 Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1.1.11 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1.1.12 Further reading . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1.1.13 External links . . . . . . . . ....
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...NOTE: This PDF document has a handy set of “bookmarks” for it, which are accessible by pressing the Bookmarks tab on the left side of this window. ***************************************************** We are the last. The last generation to be unaugmented. The last generation to be intellectually alone. The last generation to be limited by our bodies. We are the first. The first generation to be augmented. The first generation to be intellectually together. The first generation to be limited only by our imaginations. We stand both before and after, balancing on the razor edge of the Event Horizon of the Singularity. That this sublime juxtapositional tautology has gone unnoticed until now is itself remarkable. We're so exquisitely privileged to be living in this time, to be born right on the precipice of the greatest paradigm shift in human history, the only thing that approaches the importance of that reality is finding like minds that realize the same, and being able to make some connection with them. If these books have influenced you the same way that they have us, we invite your contact at the email addresses listed below. Enjoy, Michael Beight, piman_314@yahoo.com Steven Reddell, cronyx@gmail.com Here are some new links that we’ve found interesting: KurzweilAI.net News articles, essays, and discussion on the latest topics in technology and accelerating intelligence. SingInst.org The Singularity Institute for Artificial Intelligence: think tank devoted to increasing...
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...62118 0/nm 1/n1 2/nm 3/nm 4/nm 5/nm 6/nm 7/nm 8/nm 9/nm 1990s 0th/pt 1st/p 1th/tc 2nd/p 2th/tc 3rd/p 3th/tc 4th/pt 5th/pt 6th/pt 7th/pt 8th/pt 9th/pt 0s/pt a A AA AAA Aachen/M aardvark/SM Aaren/M Aarhus/M Aarika/M Aaron/M AB aback abacus/SM abaft Abagael/M Abagail/M abalone/SM abandoner/M abandon/LGDRS abandonment/SM abase/LGDSR abasement/S abaser/M abashed/UY abashment/MS abash/SDLG abate/DSRLG abated/U abatement/MS abater/M abattoir/SM Abba/M Abbe/M abbé/S abbess/SM Abbey/M abbey/MS Abbie/M Abbi/M Abbot/M abbot/MS Abbott/M abbr abbrev abbreviated/UA abbreviates/A abbreviate/XDSNG abbreviating/A abbreviation/M Abbye/M Abby/M ABC/M Abdel/M abdicate/NGDSX abdication/M abdomen/SM abdominal/YS abduct/DGS abduction/SM abductor/SM Abdul/M ab/DY abeam Abelard/M Abel/M Abelson/M Abe/M Aberdeen/M Abernathy/M aberrant/YS aberrational aberration/SM abet/S abetted abetting abettor/SM Abeu/M abeyance/MS abeyant Abey/M abhorred abhorrence/MS abhorrent/Y abhorrer/M abhorring abhor/S abidance/MS abide/JGSR abider/M abiding/Y Abidjan/M Abie/M Abigael/M Abigail/M Abigale/M Abilene/M ability/IMES abjection/MS abjectness/SM abject/SGPDY abjuration/SM abjuratory abjurer/M abjure/ZGSRD ablate/VGNSDX ablation/M ablative/SY ablaze abler/E ables/E ablest able/U abloom ablution/MS Ab/M ABM/S abnegate/NGSDX abnegation/M Abner/M abnormality/SM abnormal/SY aboard ...
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