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Parts and Layers

Parts and Layers. Electronic Counterpoint is built up in layers There are 7 pre-recorded electric guitar parts and two bass guitars The live guitar part is performed along with the recorded parts

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Parts and Layers

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  1. Parts and Layers • Electronic Counterpoint is built up in layers • There are 7 pre-recorded electric guitar parts and two bass guitars • The live guitar part is performed along with the recorded parts • The texture gradually builds up in section A, with the guitar parts entering in the following order:Guitar 1, Live guitar, Guitar 2, Guitar 3, Guitar 4, Bass guitars 1 and 2, Guitar 5, Guitar 6, Guitar 7 • The piece is divided into 2 main sections (AB). • These main sections are then subdivided into 4 smaller sections, each defined by changes in key and texture.

  2. Section A1: Bars 1-23 0.00-0.42 • Begins with Guitar 1: Motif 1: 1 bar ostinato

  3. Section A1: Bars 1-23 0.00-0.42 • Bar 2: The live guitar builds up motif 1 using additive melody, but it is one crotchet behind • Bar 7: Guitar 2 enters with the same motif as the live guitar • These 3 parts together create phase shifting

  4. Section A1: Bars 1-23 0.00-0.42 • Bar 10: Guitar 3 builds up ostinato 1 using additive melody/ note addition • The ostinato is displaced by five and a half crotchets

  5. Section A1: Bars 1-23 0.00-0.42 • Bar 16: Guitar 4 plays ostinato 1 displaced by two and a half crotchets • Reich calls this a’ four part guitar canon’ • Canon: one voice repeats the part of another, like an echo, after a given duration

  6. Bars 1-19 summarised • Guitar 1 starts with motif 1 • Each guitar then plays motif 1 but starting at different points so they are out of sync (phase shifting) • The live guitar and guitar 3 build up their motif using additive melody

  7. Section A1: Bars 1-23 0.00-0.42 • When all the parts have entered, the live guitar starts to play the resultant melody • The piece is in 3/2 time with a clear triple meter • Hints at the key of E minor • Resultant Melody: A new melody is heard when a variety of parts each play their melodies at the same time • Triple Meter: a primary division of 3 beats to the bar, usually indicated by 3 (simple) or 9 (compound) in the upper number of the time signature

  8. Section A2: Bars 24-35 0.43-1.05 • Bar 24: Bass guitars enter • A two bar bass ostinato is gradually introduced, starting with the first bar and adding the notes until it is played in full by bar 33 (additive melody)

  9. Section A2: Bars 24-35 0.43-1.05 • Key of E minor becomes definite • Bass guitars are panned to the left and right speakers to balance the sound • Live guitar continues the resultant melody

  10. Section A3: Bars 36-66 1.05-2.05 • Bar 36: Live guitar introduces strummed chords • Has a dramatic effect on texture: introduces a percussive sound that cuts across the rest of the parts • Bar 40: Guitar 5 plays C, Bm E5 (same as live guitar) • Bar 52: Guitar 6 plays C, D, Em • Bar 64: Guitar 7 plays C, D, Bm

  11. Section A4: Bars 36-66 1.05-2.05 • Live guitar and guitars 5-7 are all playing by bar 64. • Because they are played at different times in the bar, a new rhythmic counterpoint is introduced and can be heard as distinct chords • Live guitar continues to play chords, interweaving with the rhythms of guitar 5-7 • Counterpoint: When there is more than one independent line happening at the same time in a piece of music, we say that the music is contrapuntal. This can also be called polyphony, or you can say that the music is polyphonic

  12. Section B5 67-73 2.06-2.16 • Live guitar returns to playing a resultant melody part • 74-81 2.16-2.31 • Bar 74: Change of key to C minor. Signals the start of section B • Texture the same as section 4

  13. Section B6: 82-89 2.32-2.46 • Key shifts back to E minor • Time signature changes to 12/8 in all but guitars 1-4 • Because not all instruments change, this is not obvious when listening • Bass part plays a new ostinato • Bar 86: Time signature shifts back to 3/2 and bass ostinato changes back to ostinato 2 • Bass 1 is inverted and adds one additional note • Inversion: Turning intervals upside down to create a mirror image

  14. Section B7 90-97 2.47-3.01 • Return to C minor (Similar to section B5) • Time signature continues to change every 4 bars • 98-113 3.02-3.32 • Bar 98: Return to E minor • Shifts in key and time signature become more frequent, building tension • Bar 106: Guitars 5-7 and bass parts fade out

  15. Coda: 114-140 3.32-4.24 • Bar 114: Texture returns to 4 part canon of ostinato 1 in guitars 1-4 • Live guitar plays resultant melodies • Shifts in key and metre continue till bar 129 when it’s made clear the piece will end in E minor • Ends with a crescendo to a final E5 chord played in all 5 remaining parts

  16. Important Points • The piece is basically in E minor, but Reich keeps the listener guessing right until the bass guitars make it obvious in bar 33. This is called tonal ambiguity: keeping the key uncertain • Texture is built up gradually and helps to define the structure • Once all the parts have been introduced, the texture is quite constant, but with clever use of panning and interweaving rhythms it always seems to be shifting • Not strictly phasing as the parts stay out of sync, separated by the same distance throughout

  17. Key Questions on ‘Electric Counterpoint’ • Describe the texture of the first section (bars 1-23) • What is the term used to describe a repeated motif? • What instrument enters at the start of the second section? (Bar 24) • What is the tonality of the piece when this instrument enters? • There are three strummed guitar parts. What studio effect has been used to help separate the parts? • What other instruments have been separated out using the same effect? • The live guitar part plays a melody derived from the notes played in the recorded parts. What is the term used to describe this? • Why do you think this piece is called electric counterpoint?

  18. Key Questions on ‘Electric Counterpoint’ • Describe the texture of the first section (bars 1-23)It begins with a sparse texture, with one guitar, gradual building up until there are several (5) layered parts. The parts are imitative, building up a 4 part canon with the live guitar part playing a resultant melody just before 0.42. It is mostly contrapuntal/polyphonic. • What is the term used to describe a repeated motif?Ostinato/ Loop • What instrument enters at the start of the second section? (Bar 24)Bass guitar • What is the tonality of the piece when this instrument enters?(E) Minor

  19. Key Questions on ‘Electric Counterpoint’ • There are three strummed guitar parts. What studio effect has been used to help separate the parts? Panning • What other instruments have been separated out using the same effect?The bass guitars • The live guitar part plays a melody derived from the notes played in the recorded parts. What is the term used to describe this?A resultant Melody • Why do you think this piece is called electric counterpoint? - Written for electric guitar- Texture is mostly contrapuntal- All but one of the tracks was recorded on tape - Makes use of studio effects

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