Steve Reich Vermont Counterpoint Pdf To Jpg
's Electric Counterpoint (1987) belongs to a group of the composer's works (including Vermont Counterpoint 1982 and New York Counterpoint 1985) which call for a soloist to play along with a recording of him- or herself. Written for noted jazz guitarist Pat Metheny, Electric Counterpoint requires the player to pre-record up to ten electric guitar tracks and two electric bass tracks; the player performs the eleventh part live against the tape.
Steve Reich Vermont Counterpoint Pdf To Jpg Free
This configuration creates an interesting aural effect; the ethereal homogeneity of ten timbrally identical electric guitars simultaneously playing different figures is immediately quite striking.Electric Counterpoint is in three movements, labeled simply 'Fast,' 'Slow,' and 'Fast.' The first begins with a stream of rapidly repeated chords that gradually fade in and out of audibility, subtly changing harmony at the quietest moments. After the harmonic outline of the piece has been presented, one guitar enters with a new theme, which seven other guitars reiterate one by one in canonic fashion. The remaining two guitars, along with the two basses, supply harmonic support. The second movement similarly builds up canonically, this time employing a slower, plaintive theme.
While the third movement recalls the tempo of the first, it stresses rhythmic variety in its frequent metric shifts. The basses drive this effort, dividing the ambiguous twelve-beat textures of the guitars first into three groups of four, then four groups of three - a familiar feature in Reich's music ever since Clapping Music (1972) and Music for Pieces of Wood (1973).
These metric shifts are accompanied by complementary shifts in harmony. The changes in the final movement occur at shorter and shorter intervals until the basses fade out and the guitars reach a final harmonic and rhythmic acquiescence. Parts/Movements. Fast.
Slow. FastAppears On.