New York Counterpoint
Mind map summarising the key features of Reich's New York Counterpoint. Feel free to ask questions/suggest improvements :)
- Created by: Nora
- Created on: 18-02-13 09:12
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- New York Counterpoint: Movement II
- Structure
- Evolves
- Not a definite structure
- Bars 1-12: Introduction of melodic material. Number of instruments increases
- Bars 13-71: Unchanging three part canon
- Bars 25-66: Live clarinet fades in and out with a solo line
- Bars 27-65: Parts 7-10 fade in and out with four-part chordal semiquavers
- Bars 25-66: Live clarinet fades in and out with a solo line
- Bars 13-71: Unchanging three part canon
- Tonality
- Key signature suggests B major
- Never clearly established
- Lack of key-defining cadence
- Texture
- Bar 3: imitation at distance of one quaver
- Two bar units repeated
- Bar 9: doubling of parts
- Staggered repetition of melodic material
- Opening bars: homorhythm
- Main texture is counterpoint
- Bar 27: pulsating chordal homophony
- Rhythm and Metre
- Short rhythmic units of grouped semiquavers and long notes
- Hard to discern metre
- Gradually building rhythmic complexity
- Simple triple
- Syncopation barely audible
- Melody
- Mainly leaps, some stepwise movement
- Uses hexatonic scale: E-F#-G#-A#-B-C#
- Leaps outline broken chords or arpeggios
- Diatonic
- Live clarinet more disjunct
- Harmony
- Alternation of cords IV and V creates harmonic movement
- Overlap of chords creates brief dissonances
- Unprepared dissonances
- Essentially diatonic
- Use of added note chords in lower parts
- Non-functional
- Harmonies outline by overlapping melodies
- Performing forces
- Clarinets 7, 8, 9 and 10
- very wide range (9 and 10 are bass clarinets)
- Usually play persistent repeating notes
- Clarinets 4, 5, and 6
- lower register from A to A
- Extremes of register mainly avoided
- Clarinets 1,2 and 3
- range of an octave C# to C#
- Use same melodic material
- Live clarinet has a wider range
- One live clarinet + 10 pre recorded
- Clarinets 7, 8, 9 and 10
- Structure
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