9 - Minimalism 1

Minimalism - Steve Reich

This weeks composition was based on the works of Steve Reich. The guidelines were as follows:

• Create a modal pattern using quavers in 12/8.
• Build up texture and harmony using canonic "phase shifting".
• Use substitution: rests for beats and vice versa.
• Try and experiment with dynamics to accentuate rhythmic interplay.
• Homophonic instrumental texture.
• Produce a 'B' section using another mode.
• No bass line or downbeat.
• Try and keep it under 5 minutes long.

Research

Steve Reich's Piano Phase piece uses two pianos that play at very slightly different tempos. The result is that, as time progresses, the parts drift out of time with each other and a phasing effect occurs, which ends up boosting the levels of certain notes whilst dropping the level of other. It also has the effect of adding notes between notes (due to the time lag) and allows the piece to progress and change over time even though it is the same pattern being repeated.

Choice of sound

Within NI's Logic I chose simple and harsh sounds. As a portrayal of my contempt towards minimalism I had decided to make this composition as uncomfortable for the listener as possible. I chose a trumpet for the "A" section and a violin stab as the "B" section.

"A" Section plugin

"B" Section Plugin

To further add to the uncomfortable feel of the composition I opted to have the first section in C-Major and the second section in C#-Minor. When these parts overlay the piece becomes extremely tense.

"A" Section tonerow

"B" Section tonerow

Phase Shifting

The method of replicating Steve Reich's phase shifting technique was rather simple within Pro-Tools. The Time Compression/Expansion audio suite plugin allowed for this to be performed easily. The looped clip was stretched at a ratio of 1.009:1. This was repeated multiple times to create multiple tracks that were stretched progressively. 

ProTools Time Compression/Expansion plugin in use

Other elements

Since I had 6 version of each part I decided to pan them progressively from left to right. This gave the effect of the piece sweeping across the stereo image as the piece moves along. This panning also begins to create a chaotic bouncing effect as the piece move more and more out of phase, adding to the discomfort of the listener.

Panning of "A" Section

One point I had released was that by the time the "B" section had fully settled in the piece was not as uncomfortable as it was at the beginning. To counteract this I decided to bring in a rather horrifying noise akin to an explosion filled with feedback. To do this I used samples of an explosion mixed with a most ear-piercing noise that I had discovered within Massive.

"Ear Piercing Noise" from Massive

I fed the noise from this into a feedback loop with a pitch shifter built into it and an excessive reverb.I actually liked the noise that the tail of this reverb made so much that I decided to let it fade out for a whole 90 seconds. I found this to be the most interesting part of the piece in regards to it's sonic qualities as you almost start to hear aural hallucinations as you listen to it fade out.

Phase Invariance In The Dilithium Matrix

The term "phase" often makes me think of the phasers in Star Trek. A running theme within Star Trek is that if there's an issue with the ship it's usually with the dilithium matrix. This is how i came up with the name.