Sävellyksen tietopankki

Sävellyksen tietopankki

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35.

Phase shift in the style of Steve Reich using sequencer software

Steve Reich invented a phase shift technique using reel-to-reel tape recorders and has applied this technique in his instrumental music too. In this exercise, students are to invent a musical sequence that can be looped, working at a keyboard or using their own instrument.

Assignment author
Tapio Lappalainen

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Basics

Skill level
Advanced level
Introductory level
Medium level
Specialised level
Group size
Individual tuition
Large group
Small group (2 to 8)
Minimum time required
1 lessons
2 lessons
One month

Goal and output

Pedagogical goal

Understanding the principle underlying Steve Reich's phase shift technique.

Concrete output

Musical texture created and played back using sequencer software.

Work progress

• Ask students to come up with a sequence of 5 to 10 notes at a keyboard or using their own instrument. All notes should be of the same duration. "Create a sequence of notes that you think sounds attractive!"

• Have the students write down the sequence of notes on music paper.

• Start the computer or tablet and load up the sequencer software. Create a MIDI track in the program if there is not one already.

• Have the students enter the notes in a (MIDI) region on a MIDI track in the sequence software (e.g. GarageBand).

• Make as many copies of the region on the MIDI track as there are notes in the region (n notes).

• The track now contains n regions. Duplicate this track, or copy all the regions to another track.

• On the original track, the regions can follow each other without a break.

• On the second track, introduce a delay as follows: the 1st region begins at the same time as the 1st region on the original track. Move the 2nd region forward by the duration of one note in the sequence. Move the 3rd region forward by the duration of two notes in the sequence. Move the 4th region forward by the duration of three notes in the sequence, and so on.

• For clarity, the tracks should be panned to the opposite edges of the stereo panorama, i.e. track 1 to the far left and track 2 to the far right.

• Listen to the end result via headphones or speakers.

Topics in the assignment

Musical elements
Form; dramaturgy of music
Harmony; chords
Melody
Rhythm
Tonal colour; extended playing techniques
Musical structures and analysis
Analysis
Dynamics; articulation
Intervals
Octaves, registers
Scales, keys
Texture
Playing an instrument & singing
Ensemble playing
Extended playing techniques
Interpretation
Playing by ear
Sight-reading; solfège
Solo/Tutti
Using one's own voice; singing
Listening
Active listening
Reference works
Notation & music terminology
Graphic notation
Music terminology
Score
Traditional notation
Arranging & parts
Arranging
Instrumentation; orchestration
Parts
Music technology
Music technology; music technology
Improvisation & interaction
Cooperation
Following sound and movement
Improvisation; soundscape
Reaction; taking turns
Styles & techniques
Aleatorics
Concrete music
Counterpoint
Field technique
Imitation
Minimalism
Pointillism
Polyphony
Imagination & other arts
Dance; movement
Mood; imagination
Music theatre
Narrative composition
Photo; image
Text

Tools

Classroom instruments
Computer, tablet or smartphone
Keyboard
Music paper
Music technology
Notation software
Own instrument
Own voice
Percussion instruments
Photographs; images
Recordings or sheet music
Sequencer software
Stationery for taking notes
TV, computer screen or video projector

Detailed description of tools

Computer or tablet; headphones.

Remarks

The maximum group size equals the number of computers or tablets available.

A notation program may be used instead of a sequencer program if it is easy to copy and delay regions in the notation program.

Experience has shown that most students tend to select diatonic pitch collections for their note sequences, and as a result the outcome of this assignment may sound "surprisingly good".

Further assignments

Assignment suitable for further study

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Other similar assignments
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Info

The Opus 1 composition pedagogy databank is a gateway to the wide world of musical composition. It offers all teachers and institutions providing music education an inspiring perspective on introductory composition teaching, including a wide range of composition assignments particularly suited to teaching at music institutes, whether in large or small groups or as individual tuition.

This package was designed and delivered by a working group of specialists in composition and composition pedagogy. The project was supported financially by the Foundation for Finnish Art Music and the Society of Finnish Composers.
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Contact information

Please contact us if you want to know more or to submit your own assignments for inclusion: opus1@composers.fi

© The authors
Design: Farm / Antti Kangassalo
Code: Call to Action
Photos: Markku Klami
English translation: Jaakko Mäntyjärvi

Skill levels

  • Introductory level
  • Medium level
  • Advanced level
  • Specialised level

The basics

  • Listening
  • Imagination & other arts
  • Musical elements
  • Musical structures and analysis
  • Music technology
  • Notation & music terminology
  • Playing an instrument & singing
  • Styles & techniques
  • Interaction & cooperation
  • Arrangements & parts
  • ALL ASSIGNMENTS