Reich New York Counterpoint II 1986

Compilation of class notes and Edexcel notes (from book and online Teacher Support Matierial)

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  • Created on: 03-03-13 17:48
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03/03/2013 E. Singh
Reich (1936 ): New York Counterpoint II (1986)
Style of piece: simple patterns subjected to systematic processes of gradual transformation minimalism
His other Counterpoints include Vermont (for flute), Electric (for electric guitar) and Cello.
This work represents the bustling city life of New York, reflected in the energetic, syncopated rhythms of the music and complex contrapuntal textures
generated by staggered entries
Structure defined through control of Melody diatonic Tonality entirely Rhythm and metre
textural (and melodic) elements accidentals at all!
A hexatonic scale is the basis of B major key signature (sounding in Simple triple time throughout
all of the melodic material in the A major) but focus of music is on Time signature difficult to discern
Bars Description
piece largely descending in pitch E music could be said to be because of the many voices
shape, outlines chords IV and V in Lydian mode on E (raised 4th interweaving
12 Two parts enter
of B unlike E major) Piece mainly built on short
38 4 parts B25 is a resultant melody as it's No cadences to define the key and rhythmic units of grouped s/qs
from cl.2, cl.3, cl.1, cl.2... the avoidance of D#s in most of interspersed with longer notes and
9 More parts enter and The melodic pattern consists music, so a tonality is never clearly separated by rests
double existing parts mainly of leaps usually outline established Homorhythmic start
broken chord or arpeggio Reliance on purely chords IV and V Counterpoint builds rhythmic
13 6 part texture patterns There is some stepwise Melodic parts restricted to notes of complexity (see Structure)
movement. hexatonic scale
21 7th part added B27 Cl.710 enter pushing the
Each of the recorded clarinet part B27 B major triad in cl.79 'clouded' music forward even more
melodies stays in the limited by C# in cl.10
25 Live cl. takes soloistic role
range of an 8ve. The Live Clarinet
Some entries could be called
syncopated e.g. b.3 entry, but
in its solo section (b2566)
extends its range to over two
they'd have to be against an
Bars Description audibly defined metre not
octaves (from low A to C#).
apparent in the movement
2772 Cl.16 continue
The Live Clarinet has a more
disjunct melodic shape at times.
contrapuntal texture
(b35 is a good example as two
ascending minor 6th leaps are
followed by a minor 7th descent)

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E. Singh
2765 Cl.710 play 3 dissonant B2765 Cl.…read more

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E. Singh
Clarinet) and generally play persistent the piece. There are three different chords utilised in this In Bar 21 Clarinet 3 enters with material identical to
repeated notes. textural layer. the Live Clarinet part.…read more


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