Reed Phase

Last updated

Reed Phase, also called Three Reeds, is an early work by the American minimalist composer Steve Reich. It was written originally in 1966 for soprano saxophone and two soprano saxophones recorded on magnetic tape, titled at that time Saxophone Phase, and was later published in two versions: one for any reed instrument and tape (titled Reed Phase), the other for three reed instruments of exactly the same kind (in which case the title is Three Reeds). It was Reich's first attempt at applying his "phasing" technique, which he had previously used in the tape pieces It's Gonna Rain (1965) and Come Out (1966), to live performance.

Contents

History

Reed Phase was composed in 1966 for Jon Gibson, the score having been finished in December 1966. The world premiere was given by Gibson in the art gallery of Fairleigh Dickinson University in New Jersey on January 5, 1967, under the title Saxophone Phase, and was repeated in New York at the Park Place Gallery on March 17, 1967. [1] The score was published the next year in a version "for any reed instrument and two channel tape or three reeds", now retitled Reed Phase or Three Reeds. [2]

Reed Phase is the first work in which Reich attempted to apply the discoveries of phasing made with the tape works It's Gonna Rain (1965) and Come Out (1966) to live performance. It represents a transitional stage in that it combined, in its original version, live instrumental performance and tape accompaniment. A technical difference between the tape and live mediums is that in the former, phasing was accomplished by slowing down one tape loop against the other, using the technique of flanging, whereas in the instrumental compositions it proved easier for one player to speed up against the other's fixed tempo. From the listener's point of view, however, the difference in effect is indistinguishable. [3]

Reed Phase begins a sequence, followed directly by Piano Phase and Violin Phase (both 1967), in which the composer explores phasing technique for a single performer with tape and, in the case of Piano Phase, just two players. The two later compositions are among the most familiar of Reich's early works but Reed Phase has remained relatively unknown, in part because Reich soon came to regard it as a failure. Already with the publication of his collected Writings about Music in 1974, he excluded it from the compositions he regarded as "worth keeping", and never mentions the work in that book, even in passing. [3] Later, Reich characterized the work as "discarded". [4] The limited harmonic material aside, Reich had come to realise that unusual numbers of beats, such as the quintuple meter of Reed Phase, offered less than they initially suggested. In Piano Phase, work on which was already begun in late 1966, he chose a pattern of twelve eighth notes, subdivided into two groups of six, and began to discover the possibilities of metric reorientation which lay behind the potential subdivisions of a twelve-beat pattern. [5] Twelve-unit rhythmic patterns

can divide up in very different ways; and that ambiguity as to whether you’re in duple or triple time is, in fact, the rhythmic life-blood of much of my music. In this way, one's listening mind can shift back and forth within the musical fabric, because the fabric encourages that. But if you don’t build in that flexibility of perspective, then you wind up with something extremely flat-footed and boring. [6]

Analysis

Reed Phase was originally composed for soprano saxophone and two saxophones pre-recorded on magnetic tape, under the title Saxophone Phase. By the time of its publication two years later the possible instrumentation had been extended to include "clarinet, oboe, accordion, reed organ, or any reed instrument that produces the four necessary pitches". [7] It may also be played without tape on "any three reed instruments of exactly the same kind", in which case it is titled Three Reeds. [8]

The composition is based on a five-note cell, or "basic unit", which is repeated continually throughout the entire work.

Reed Phase

The basic unit is continually repeated by the instrumentalist and, because the performer must play without any interruption for at least five minutes, Reed Phase requires the use of circular breathing, instructions for which are given in the score. [7] It is probably the first composition to require the use of circular breathing throughout the entire duration of the piece. [9] Although the basic unit consists of five notes, the note A is used twice, so that there are only four pitches in all. The scale of the piece is therefore tetratonal, centered on the low D. [1]

The work is composed in three sections. The first section is a cycle of phase shifts of the basic unit between the live instrument and one instrument on the tape. [1] The reed instrument recorded on the tape repeats the basic unit in a fixed tempo, while the instrumentalist begins a cycle of phase shifts consisting of the soloist repeating the basic module a certain number of times, then accelerating the tempo until the shift against the steady part (tape or accompanying reed instrument) is increased by one eighth note, and then resuming the initial tempo for a certain number of repetitions in a constant relationship with the tape. The instrumentalist then accelerates again until the time lag is increased to a quarter note. This process is repeated until the starting point is reached once again, which is to say it returns to a unison (in phase) with the tape, which marks the end of the first cycle of phasing. [8]

In the score, the gradual transitions are notated with dotted lines to indicate the acceleration made by the player against the fixed part(s), each synchronized stage in the sequence notated conventionally to show the new alignment. [10] The performer is to resist the tendency to move directly from one eighth-note synchronization to the next. Instead, "he should attempt to move smoothly and continuously—the slower the better—spending due time within the 'irrational' relationships". [8] Nevertheless, there is an alternation between periods of gradual dephasing and sections of temporary rhythmic stability. It is with this "stepped" characteristic that Reich's "live" process compositions most conspicuously differ from the "pure phasing" of the tape compositions, which have a slow and regular rate of change. [11]

In the second section, a second instrument is added to the tape in a second channel, offset by one eighth note from the first recorded instrument. The live instrumentalist then performs a second cycle of phase shifts, reaching unison with channel 1 of the tape, and then moving ahead by one more eighth note to achieve unison with channel 2. At this point, the second channel fades out and the soloist continues the third section as a repeat of the first, until coming back into phase with the tape once again. After a few unison repetitions, both the performer and the tape stop simultaneously. [8]

Discography

Related Research Articles

<span class="mw-page-title-main">Harmonica</span> Free reed wind musical instrument

The harmonica, also known as a French harp, mouth harp or mouth organ, is a free reed wind instrument used worldwide in many musical genres, notably in blues, American folk music, classical music, jazz, country, and rock. The many types of harmonica include diatonic, chromatic, tremolo, octave, orchestral, and bass versions. A harmonica is played by using the mouth to direct air into or out of one holes along a mouthpiece. Behind each hole is a chamber containing at least one reed. The most common is the diatonic Richter-tuned with ten air passages and twenty reeds, often called the blues harp. A harmonica reed is a flat, elongated spring typically made of brass, stainless steel, or bronze, which is secured at one end over a slot that serves as an airway. When the free end is made to vibrate by the player's air, it alternately blocks and unblocks the airway to produce sound.

<span class="mw-page-title-main">Oboe</span> Double-reed woodwind instrument

The oboe is a type of double-reed woodwind instrument. Oboes are usually made of wood, but may also be made of synthetic materials, such as plastic, resin, or hybrid composites.

<span class="mw-page-title-main">Steve Reich</span> American composer (born 1936)

Stephen Michael Reich is an American composer who is known for his contribution to the development of minimal music in the mid to late 1960s. Reich's work is marked by its use of repetitive figures, slow harmonic rhythm, and canons. Reich describes this concept in his essay, "Music as a Gradual Process", by stating, "I am interested in perceptible processes. I want to be able to hear the process happening throughout the sounding music." For example, his early works experiment with phase shifting, in which one or more repeated phrases plays slower or faster than the others, causing it to go "out of phase." This creates new musical patterns in a perceptible flow.

<span class="mw-page-title-main">Terry Riley</span> American composer and performing musician (born 1935)

Terrence Mitchell "Terry" Riley is an American composer and performing musician best known as a pioneer of the minimalist school of composition. Influenced by jazz and Indian classical music, his work became notable for its innovative use of repetition, tape music techniques, and delay systems. His best known works are the 1964 composition In C and the 1969 album A Rainbow in Curved Air, both considered landmarks of minimalism and important influences on experimental music, rock, and contemporary electronic music. Subsequent works such as Shri Camel (1980) explored just intonation.

<span class="mw-page-title-main">Melodica</span> Free-reed instrument

The melodica is a handheld free-reed instrument similar to a pump organ or harmonica. It features a musical keyboard on top, and is played by blowing air through a mouthpiece that fits into a hole in the side of the instrument. The keyboard usually covers two or three octaves. Melodicas are small, lightweight, and portable, and many are designed for children to play. They are popular in music education programs, especially in Asia. The modern form of the instrument was invented by Hohner in the late 1950s, though similar instruments have been known in Italy since the 19th century.

Piano Phase is a minimalist composition by American composer Steve Reich, written in 1967 for two pianos. It is one of his first attempts at applying his "phasing" technique, which he had previously used in the tape pieces It's Gonna Rain (1965) and Come Out (1966), to live performance.

<i>In C</i> Musical composition

In C is a musical piece composed by Terry Riley in 1964 for an indefinite number of performers. He suggests "a group of about 35 is desired if possible but smaller or larger groups will work". A series of short melodic fragments that can be repeated at the discretion of musicians, In C is often cited as the first minimalist composition to make a significant impact on the public consciousness.

<span class="mw-page-title-main">Milton Babbitt</span> American composer (1916–2011)

Milton Byron Babbitt was an American composer, music theorist, mathematician, and teacher. He was a Pulitzer Prize and MacArthur Fellowship recipient, recognized for his serial and electronic music.

<span class="mw-page-title-main">Tape loop</span> Loops of magnetic tape to create patterns or sounds

In music, tape loops are loops of magnetic tape used to create repetitive, rhythmic musical patterns or dense layers of sound when played on a tape recorder. Originating in the 1940s with the work of Pierre Schaeffer, they were used among contemporary composers of 1950s and 1960s, such as Éliane Radigue, Steve Reich, Terry Riley, and Karlheinz Stockhausen, who used them to create phase patterns, rhythms, textures, and timbres. Popular music authors of 1960s and 1970s, particularly in psychedelic, progressive and ambient genres, used tape loops to accompany their music with innovative sound effects. In the 1980s, analog audio and tape loops with it gave way to digital audio and application of computers to generate and process sound.

Violin Phase is a musical work written by minimalist composer Steve Reich in October 1967.

Minimal music is a form of art music or other compositional practice that employs limited or minimal musical materials. Prominent features of minimalist music include repetitive patterns or pulses, steady drones, consonant harmony, and reiteration of musical phrases or smaller units. It may include features such as phase shifting, resulting in what is termed phase music, or process techniques that follow strict rules, usually described as process music. The approach is marked by a non-narrative, non-teleological, and non-representational approach, and calls attention to the activity of listening by focusing on the internal processes of the music.

<i>Six Pianos</i> Composition by Steve Reich

Six Pianos is a minimalist piece for six pianos by the American composer Steve Reich. It was completed in March 1973. He also composed a variation for six marimbas, called Six Marimbas, in 1986. The world première performance of Six Pianos was in May 1973 at the John Weber Gallery in New York City. The European première took place in January the next year in Stuttgart, Germany.

<span class="mw-page-title-main">Steve Reich and Musicians</span> Musical ensemble founded by American composer Steve Reich

Steve Reich and Musicians, sometimes credited as the Steve Reich Ensemble, is a musical ensemble founded and led by the American composer Steve Reich. The group has premiered and performed many of Reich's works both nationally and internationally. In 1999, Reich received a Grammy Award for "Best Small Ensemble Performance " for the ensemble's performance of Music for 18 Musicians.

<span class="mw-page-title-main">Vinko Globokar</span> French-Slovenian avant-garde composer and trombonist

Vinko Globokar is a French-Slovenian avant-garde composer and trombonist.

<i>Clapping Music</i> Composition by Steve Reich

Clapping Music is a minimalist piece written by Steve Reich in 1972. It is written for two performers and is performed entirely by clapping.

York Höller is a German composer and professor of composition at the Hochschule für Musik Köln.

Arthur "Art" Bixler Murphy was a classical and jazz musician, pianist and composer. He was born in Princeton, New Jersey. He grew up in Oberlin, OH, where his father was a member of the Oberlin College faculty.

<i>Drumming</i> (Reich) Composition by Steve Reich

Drumming is a piece by minimalist composer Steve Reich, dating from 1970–1971. Reich began composition of the work after a short visit to Ghana and observing music and musical ensembles there, especially under the Anlo Ewe master drummer Gideon Alorwoyie. His visit was cut short after contracting malaria. Classical music critic K. Robert Schwarz describes the work as "minimalism's first masterpiece".

<span class="mw-page-title-main">Phase music</span> Compositional technique

Phase music is a form of music that uses phasing as a primary compositional process. It is an approach to musical composition that is often associated with minimal music, as it shares similar characteristics, but some commentators prefer to treat phase music as a separate category. Phasing is a compositional technique in which the same part is played on two musical instruments, in steady but not identical tempi. Thus, the two instruments gradually shift out of unison, creating first a slight echo as one instrument plays a little behind the other, then a doubling effect with each note heard twice, then a complex ringing effect, and eventually coming back through doubling and echo into unison.

New York Counterpoint for amplified clarinet and tape, or 9 clarinets and 3 bass clarinets, is a 1985 minimalist composition written by American composer Steve Reich. The piece, intended to capture the throbbing vibrancy of Manhattan, is notable for its ability to imitate electronic sounds through acoustic instrumentation.

References

  1. 1 2 3 Potter 2000, 181.
  2. Reich 1968.
  3. 1 2 Potter 2000, 180–181.
  4. Reich 2002, 79.
  5. Potter 2000, 182, 186.
  6. Reich 2002, 130.
  7. 1 2 Reich 1968, 69.
  8. 1 2 3 4 Reich 1968, 70.
  9. Gibson 1992.
  10. Potter 2000, 180.
  11. Warburton 1988, 144.

Sources

Further reading