Reich: New York Counterpoint mvt 3 DR SMITH

This is a DR SMITH (Dynamics, Rhythm/meter, Structure, Melody, Instrumentation, Texture, Tonality, Harmony) analysis of the edexcel A2 Music set work (2013) - New York Counterpoint (Reich).

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  • Created by: alisha97
  • Created on: 17-06-13 15:54
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  • Reich
    • Dynamics
      • Some use of dynamics e.g. mf (bar 3)
      • Crescendo's and diminuendo's used and generally marked 'fade in' (crescendo's)or 'fade out' (diminuendo's) e.g. bar 9-10 (fade out).
    • Rhythm/meter
      • 3/4 time signature throughout.
      • In section B clarinets 7-10 play constant semi-quavers.
      • Only ever uses crotchets, quavers and semi-quavers.
      • There are no dotted notes
      • The ostinato theme first heard on clarinet 7 in bars 1-2 in very syncopated.
      • By bar 19 the music is polyrhythmic - there are continuous semi-quavers being sounded throughout every bar.
    • Structure
      • The music is through composed.
      • There are 2 sections and a coda.
      • In Seciton A (bars 1-24) the 2 bar ostinato is introduced and the textures gradually build up.
      • In Section B  (bars 25-66) the contrapuntal texture of clarinets 1-6 continues and clarinets 7-10 join playing continuous semi-quaver homophonic chords.
      • In the Coda  there are no clarinets 7-10 playing homophonic chords and there is no live clarinet.
    • Melody
      • 2 bar olstinato at the start on clarinets 7&8.
      • legato
      • Hexatonic (6 note scale).
      • Different parts join in playing the Ostinato, beginning at different points in the ostinato.
        • Note: in exam explain which parts enter when etc.
      • Live clarinet plays quite freely.
    • Instrumentation
      • All clarinets
      • Includes 2 bass clarinets.
      • Clarinets 1-10 would be pre-recorded on a multi-track recorder
      • Only 1 performer required (plays live clarinet part in performance).
    • Texture
      • Begins with a 2 bar monophonic ostinato on clarinet 7&8 in octives.
      • Builds up to a 6 part counterpoint by bar 21.
      • Clarinets 1-6 are very contrapuntal.
      • Clarinets 7-10 enter at bar 27 playing homophonic chords.
      • Section B = homophonic vs. Contrapuntal.
      • Clarinets 7-10 fade out for final time at bar 65
      • Final 3 notes are homophonic.
    • Tonality
      • Lydian mode on E (like Emajor+A#).
      • Opening 4 notes outline an E major triad.
      • Bar 2 isbased around F# major.
      • Entirely diatonic.
    • Harmony
      • There are no cadences in this work.
      • Clarinets 7-10 play 3 different homophonic chord in sections B.
        • 1)  B/C# e.g. bars 27-32 (first D# of the piece on clarinet 9!).
        • 2)  a chord made up of 4th e.g. bars 33-38.
        • 3)  F#/G# e.g. bars 41-46.

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