Rhythmic techniques and psychoacoustic effects of the percussion music of Steve Reich

Abstract

Beginning in the 1960s, composer Steve Reich began to experiment with rhythmic devises. “Phase shifting” is where unison melodies become canons as one voice speeds up slightly. This was done first with tape loops and later with live performers. In 1967, he applied this technique to “Piano Phase” in which two pianists on two pianos start a pattern in unison. One player slowly speeds up, creating canons which lock in and out of rhythmic “unisons” eventually ending back in melodic unison. This process continues two more times with different patterns. This rhythmic technique was used in several other early works of Reich such as his 1970 composition, “Drumming.” NEXUS member Garry Kvistad has built a multi-element set of percussion instruments tuned in just intonation to perform Piano Phase. The first section is played on a large wooden bar instrument similar to an African Amadinda. The second section is played on a set of thick aluminum tubes. The last section is played on an aerophone activated by slapping the ends of closed tubes. In this presentation, Mr. Kvistad will demonstrate this difficult performance technique using the newly built instruments.