Minimalism Objectives: 1. To analyse the piece according to Melody, Harmony, Instrumentation, Rhythm, Structure

Features of minimalism Drones- long, continuous note or a constantly repeated note (can be any pitch, but is often a low note) Ostinati/loops- repeated musical ideas. The shortest ideas are called cells. 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, commonly one at a time. The parts will often interact with each other forming a complex texture. Note addition- starting off with a very simple, sparse ostinato containing many rests, and gradually adding notes over a number of repetitions. Note subtraction. Rhythmic displacement Augementation Diminution Non-functional harmony

Close analysis of the 3 rd movement (Fast) from Electric Counterpoint: Section A SectionBar numbers and timing Description A :00-0:42 The piece begins with guitar 1 repeating a one-bar ostinato. The live guitar part starts with three notes of ostinato 1, building up to the full ostinato by bar 6 using note addition technique. Guitar 2 enters in bar 7, playing ostinato 1, but one crotchet later. Guitar 3 enters in bar 10, building up ostinato 1 using note addition, but by a different route to that used by the live guitar part. The ostinato is displaced by five and a half crotchets. Guitar 4 enters in bar 16, playing ostinato 1 displaced by two and a half crotchets. Reich calls this a ‘four part guitar canon’- guitar 4 doubles the live guitar part. 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 metre. It is hinting at the key of E minor.

Close analysis of the 3 rd movement (Fast) from Electric Counterpoint: Section A SectionBar numbers and timing Description A :43-1:05 The bass guitar parts are introduced at bar 24, reinforcing the feeling of a triple metre. A two-bar bass ostinato is introduced gradually, starting with the first bar and then adding the notes until it is played in full by bar 33. It is only at this point that the key of E minor becomes really definite. Note how the two bass guitars are panned to the left and right speakers- it would normally be considered bad practice to pan a bass guitar to one side, but one instrument on each side balances the sound. The live guitar continues to play the resultant melody.

Close analysis of the 3 rd movement (Fast) from Electric Counterpoint: Section A SectionBar numbers and timing Description A :06-2:16 Now that the counterpoint between the strummed guitar parts has been completed, the live guitar returns to playing a resultant melody part (this is not obvious from just listening- you need to tune in to the point where the melody seems to get slightly louder).

Close analysis of the 3 rd movement (Fast) from Electric Counterpoint: Section B SectionBar numbers and timing Description B :16-2:31 The first big change of key to C minor at bar 744 is rather startling, signalling the start of section B. The texture remains the same as for section 4.

Close analysis of the 3 rd movement (Fast) from Electric Counterpoint: Section B SectionBar numbers and timing Description B :32-2:46 The key shifts back to E minor. No preparation for this key shift. The metre changes to 12/8 in all but guitars 1-4. The bass part plays a new ostinato. At bar 86 the metre shifts back to 3/2 and the bass ostinato changes back to ostinato 2 (bass 1 is inverted and adds one additional note.)

Close analysis of the 3 rd movement (Fast) from Electric Counterpoint: Section B SectionBar numbers and timing Description B :47-3:01 Return to C minor (similar to section 5) The metre continues to change every four bars.

Close analysis of the 3 rd movement (Fast) from Electric Counterpoint: Section B SectionBar numbers and timing Description B :02-3:32 Returns to E minor at bar 98. Shifts in key and metre becomes more frequent, building the tension. At bar 106 guitars 5-7 and the two bass parts begin to fade out, gradually at first, but quickly at bar 113.

Close analysis of the 3 rd movement (Fast) from Electric Counterpoint: Section A SectionBar numbers and timing Description CODACODA :32-4:24 By bar 114 the texture has returned to the four-part canon of ostinato 1 in guitars 1-4 with the live guitar part playing resultant melodies. Shifts in key and metre continue until bar 129 when it is finally made clear that the piece will end in the key of E minor. The piece ends with a crescendo to a final E5 chord played simultaneously in all five remaining parts at the end of bar 139.

Listening question: Electric Counterpoint Answer the listening question on your handout. (Practice Paper) Remember: Underline the key words in the question. Check how many marks each question is worth. Have you answered exactly what the question asked? Have you used musical terminology?