4268250
| Question | Answer |
| Dynamics | guitars 1-4 have the least dynamic variety (mf) |
| Dynamics | live guitar has the most variety: new forte idea, fades as passing to other guitar |
| Dynamics | bass guitars generally use strong dynamic - e.g. sudden ff at bar 78, then fade as approaching coda |
| Rhythm/Metre | 3/2 overall, but later 12/8 is combined (some parts in each) = polymetre (simple & compound against each other) |
| Rhythm/Metre | effect of continuous quavers maintained throughout - little variety; hypnotic |
| Rhythm/Metre | metrical displacement shifts strong and weak notes - changes ostinato's character; out of sync |
| Structure | moves through series of sections, each identified by a change in instrumentation or texture - e.g. bass guitar in b.24 |
| Structure | structure achieves overall balance by returning to 4 part canon ostinato, and losing chords from texture in a concluding coda section |
| Melody | shapes are more like motifs than melodies - triadic/stepwise - the falling perfect 5th is prominent |
| Melody | pattern in fragments, gradual note addition until ostinato is established |
| Melody | resultant melody is played by live guitar (once 4 part canon is underway) |
| Instrumentation/Timbre | live guitar g.1-4 g. 5-7 (play chords) 2 electric bass |
| Instrumentation/Timbre | played by one performer - all parts but the live guitar intended to be recorded, and live guitar performed live over the top |
| Instrumentation/Timbre | live guitar is amplified to create balance with pre-recorded backing |
| Texture | Built up gradually; starts with monophonic guitar 1. This pattern is treated canonically. |
| Texture | sustained chords enrich texture e.g. bar 36 |
| Texture | dense and intricately interactive texture, combining ostinato patterns, chords & bass riffs; strong emphasis on use of canon |
| Harmony/Tonality | doesn't use conventional chord progressions - e.g. no cadences instead, harmonies arise as a result of the combined ostinato patterns |
| Harmony/Tonality | guitar 5-7 use parallel harmonies - stepwise patterns of 3, and 2nd inv. chords |
| Harmony/Tonality | bare chord of B & E to end - uncertain tonality |
| Context | -3rd movement -written for Pat Metheny -first performed in 1987 -other composers: Terry Riley, Philip Glass -another Reich work: Vermont Counterpoint (flute) |
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