| Who was the piece written for? |
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| When was the piece written? |
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| What style is the piece written? |
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| Name 3 minimalistic techniques |
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Simple key
Note addition/subtraction
Phase shifting
Looping
Static harmony
Metamorphosis
Rhythmic displacement
Layering
Augmentation/Diminuation |
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| What is the structure of the piece? |
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| A1 A2 A3 A4 B5 B6 B7 B8 Coda |
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| Describe the melody and form. |
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Ostinato- played by live and guitars 1-4, each starting the pattern on a different beat of the bar(phase shifting)
3 chord sequences- played by guitars 5-7 each starting on a different beat of the bar (phase shifting
Interlocking bass patterns
Resultant melody- played by live guitar |
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| What is the time signature of the piece? |
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| 3/2 then combines 3/2 and 12/8 |
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Begins ambiguously
Em definite by A2
Changes to Cm in B5 and then alternates |
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Guitars 1-4 = MF
Bass = F, fades from B8 on
Chords = F, fade to P in B5 on
Live = F to P when new pattern starts, otherwise F
Resultant melody = P to F (quickly) |
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| Describe the technology used |
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| All recorded on backing track EXCEPT LIVE GUITAR |
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| Describe the rhythm of the piece |
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| Rhythmic displacement which produces cross rhythms |
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Mostly minor
E5 power chord in chord layers and at end |
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Contrapuntal
Homophonic (chord layers)
1 live guitar (melody)
4 layered ostinato parts
3 different chord patterns
2 interlocking bass patterns |
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| What musical features are used? |
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| Resultant melody played by live guitar (created by combining notes taken from the other ostinato) |
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| Describe the instrumentation |
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Electric lead guitars (live guitar and guitars 1-4 = playing ostinati)
Electro-acoustic guitars(guitars 5-7 = chords)
Bass guitars (Bass guitars 1-2 = interlocking bass patterns) |
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