Each chord is held for the duration of two breaths, and the next chord is gradually introduced, and so on, until all eleven are played and the ensemble returns to the first chord.

This composition as To troubleshoot, please check our The structure of Music for 18 Musicians is based on a cycle of eleven chords played at the very beginning of the piece and repeated at the end. I own no rights to this piece. The first pulsing chord is then maintained by two pianos and two marimbas. Stay updated on the latest composer news and publications.
This is in contrast to the visual nods of the head used in earlier pieces of mine to call for changes and in contrast also to the general Western practice of having a non-performing conductor for large ensembles. The file extension - PDF and ranks to the Documents category. The opening eleven chord cycle of Music for 18 Musicians is a kind of pulsing cantus for the entire piece. Minimalist artists … Though the movement from chord to chord is often just a re-voicing, inversion or relative minor or major of a previous chord, usually staying within the key signature of three shapes at all times, nevertheless, within these limits harmonic movement plays a more important role in this piece than in any other I have written. contact us When this piece is completed there is a sudden change to the second chord, and a second small piece or section is constructed. All Rights Reserved. (c) Copyright Oxford University Press, 2020. Music as a Gradual Process by Steve Reich (1968) I do not mean the process of composition, but rather pieces of music that are, literally, processes. The Phase Shifting Pulse Gate—Four Organs—Phase Patterns—An End to Electronics (1968–70), 5. 370 0 obj << /Linearized 1 /O 372 /H [ 888 848 ] /L 394924 /E 9993 /N 20 /T 387405 >> endobj xref 370 22 0000000016 00000 n 0000000791 00000 n 0000001736 00000 n 0000001894 00000 n 0000002068 00000 n 0000002453 00000 n 0000002570 00000 n 0000002783 00000 n 0000003108 00000 n 0000003551 00000 n 0000003908 00000 n 0000004026 00000 n 0000004406 00000 n 0000004821 00000 n 0000004940 00000 n 0000005063 00000 n 0000005414 00000 n 0000007043 00000 n 0000007084 00000 n 0000007163 00000 n 0000000888 00000 n 0000001714 00000 n trailer << /Size 392 /Info 368 0 R /Root 371 0 R /Prev 387394 /ID[<94cde574fcb84958ff2eae5e7dd6d8b9><3ea9a8b58e1fea3ce34ea5fa6b05cc6b>] >> startxref 0 %%EOF 371 0 obj << /Type /Catalog /Pages 366 0 R /Metadata 369 0 R /PageLabels 364 0 R >> endobj 390 0 obj << /S 667 /L 949 /Filter /FlateDecode /Length 391 0 R >> stream Although its steady pulse and rhythmic energy relate to many of my earlier works, its instrumentation, structure and harmony are new.

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The process of building up a canon, or phase relation, between two xylophones and two pianos which first occurs in section 2, occurs again in section 9 but building up to another overall pattern in a different harmonic context. The first sketches were made for it in May 1974 and it was completed in March 1976. (Think of a round or infinite canon.) The Phase Shifting Pulse Gate—Four Organs—Phase Patterns—An End to Electronics (1968–70), 5.