Sextet - Revision history

Admin at 05:54, 11 July 2018

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	~~[[Image:changethistothecomposername.jpg\|right\|thumb\|250px\|Composer Name]]~~
	[[Steve Reich]]		[[Steve Reich]]

Admin at 05:53, 11 July 2018

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	~~[[Category:Templates]]~~
	[[Category:Historical Works]]		[[Category:Historical Works]]
	[[Category:Percussion Ensemble Works]]		[[Category:Percussion Ensemble Works]]

Admin at 01:29, 12 August 2015

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	[[Category:Templates]]		[[Category:Templates]]
			[[Category:Historical Works]]
			[[Category:Percussion Ensemble Works]]
			[[Category:Percussion Sextet Works]]

	<!-- Don't forget to add categories, literature, instruments, history, pedagogy, sticks, etc. Also delete the Template category. To see what categories are available, see: http://www.tekpercussion.com/Special:Categories -->		<!-- Don't forget to add categories, literature, instruments, history, pedagogy, sticks, etc. Also delete the Template category. To see what categories are available, see: http://www.tekpercussion.com/Special:Categories -->
	<!-- Don't forget to add categories, such as overtures, symphonies, etc., and also add the grade of the work. -->		<!-- Don't forget to add categories, such as overtures, symphonies, etc., and also add the grade of the work. -->

Admin: /* Instrumentation */

2013-09-08T04:05:53Z

Instrumentation

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	Player VI:<br>		Player VI:<br>

			Repertoire Note:<br>
			The electronic elements of this work are furnished by KeyboardEase™. Contact the [http://www.boosey.com/rental Boosey & Hawkes Rental Library] for more information.

	<!-- Use the above format for entering instrumentation for chamber works or pieces with multiple performers. Make sure you use a line break <nowiki>( <br /> )</nowiki> at the end of each line to achieve the desired effect (a vertical list, view any composition page for an example). If you do not know the instrumentation, you can enter {{help}} instead. You may delete this text once this is done.-->		<!-- Use the above format for entering instrumentation for chamber works or pieces with multiple performers. Make sure you use a line break <nowiki>( <br /> )</nowiki> at the end of each line to achieve the desired effect (a vertical list, view any composition page for an example). If you do not know the instrumentation, you can enter {{help}} instead. You may delete this text once this is done.-->

Admin: /* Commercial Discography */

2013-09-08T04:04:17Z

Commercial Discography

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	== Commercial Discography==		== Commercial Discography==
			Nexus<br>
			Nonesuch 79138<br>
	<!-- Enter any COMMERCIALLY available recordings or downloads...if there are none, enter this: {{none}} You may delete this text once this is done.-->		<!-- Enter any COMMERCIALLY available recordings or downloads...if there are none, enter this: {{none}} You may delete this text once this is done.-->


	==Recent Performances==		==Recent Performances==

Admin: /* General Info */

2013-09-08T04:03:46Z

General Info

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	== General Info ==		== General Info ==

	'''Year''': <br /-->		'''Year''': 1984<br /-->
	'''Duration''': c. <br /-->		'''Duration''': c. 28<br /-->
	'''Difficulty''': (see [[Ratings]] for explanation)<br /-->		'''Difficulty''': (see [[Ratings]] for explanation)<br /-->
	'''Publisher''': [[B&H]] <br /-->		'''Publisher''': [[B&H]] <br /-->
	'''Cost''': Score and Parts - $0.00   \|   Score Only - $0.00<br /-->		'''Cost''': Score and Parts - $0.00   \|   Score Only - $29.61<br /-->

	==Movements==		==Movements==

Admin: /* Instrumentation */

2013-09-08T04:03:04Z

Instrumentation

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	== Instrumentation ==		== Instrumentation ==
			Player I:<br>
			Player II:<br>
			Player III:<br>
			Player IV:<br>
			Player V:<br>
			Player VI:<br>


	~~Player I:<br /-->~~
	~~Player II:<br /-->~~
	<!-- Use the above format for entering instrumentation for chamber works or pieces with multiple performers. Make sure you use a line break <nowiki>( <br /> )</nowiki> at the end of each line to achieve the desired effect (a vertical list, view any composition page for an example). If you do not know the instrumentation, you can enter {{help}} instead. You may delete this text once this is done.-->		<!-- Use the above format for entering instrumentation for chamber works or pieces with multiple performers. Make sure you use a line break <nowiki>( <br /> )</nowiki> at the end of each line to achieve the desired effect (a vertical list, view any composition page for an example). If you do not know the instrumentation, you can enter {{help}} instead. You may delete this text once this is done.-->


	== Errata ==		== Errata ==

Admin: /* Movements */

2013-09-08T04:02:07Z

Movements

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	==Movements==		==Movements==
			I.<br>
			II.<br>
			III.<br>
			IV.<br>
			V.<br>

	<!-- Enter the title and duration of individual movements. Make sure the movements are listed by number, and use a line break <nowiki>( <br /> )</nowiki> at the end of each line. If this is a single movement work, please delete the entire category. You may delete this text once this is done. -->		<!-- Enter the title and duration of individual movements. Make sure the movements are listed by number, and use a line break <nowiki>( <br /> )</nowiki> at the end of each line. If this is a single movement work, please delete the entire category. You may delete this text once this is done. -->


	== Instrumentation ==		== Instrumentation ==

Admin at 04:01, 8 September 2013

2013-09-08T04:01:21Z

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	Compositional techniques used include some introduced in my music as early as Drumming in 1971. In particular the substitution of beats for rests to "build-up" a canon between two or more identical instruments playing the same repeating pattern is used extensively in the first and last movements. Sudden change of rhythmic position (or phase) of one voice in an overall repeating contrapuntal web first occurs in my Six Pianos of 1973 and occurs throughout this work. Double canons, where one canon moves slowly (the bowed vibraphones) and the second moves quickly (the pianos), first appear in my music in Octet of 1979. Techniques influenced by African music, where the basic ambiguity in meters of 12 beats is between 3 groups of 4 and 4 groups of 3, appear in the third and fifth movements. A rhythmically ambiguous pattern is played by vibraphones in the third movement, but at a much faster tempo. The result is to change the perception of what is in fact not changing. Another related, more recent techniques appearing near the end of the fourth movement is to gradually remove the melodic material in the sythesizers leaving the accompaniment of the 2 vibraphones to become the new melodic focus. Similarly the accompaniment in the piano in the second movement becomes the melody for the synthesizer in the fourth movement. The ambiguity here is between which is melody and which is accompaniment. In music which uses a great deal of repetition I believe it is precisely these kinds of ambiguities that give vitality and life		Compositional techniques used include some introduced in my music as early as Drumming in 1971. In particular the substitution of beats for rests to "build-up" a canon between two or more identical instruments playing the same repeating pattern is used extensively in the first and last movements. Sudden change of rhythmic position (or phase) of one voice in an overall repeating contrapuntal web first occurs in my Six Pianos of 1973 and occurs throughout this work. Double canons, where one canon moves slowly (the bowed vibraphones) and the second moves quickly (the pianos), first appear in my music in Octet of 1979. Techniques influenced by African music, where the basic ambiguity in meters of 12 beats is between 3 groups of 4 and 4 groups of 3, appear in the third and fifth movements. A rhythmically ambiguous pattern is played by vibraphones in the third movement, but at a much faster tempo. The result is to change the perception of what is in fact not changing. Another related, more recent techniques appearing near the end of the fourth movement is to gradually remove the melodic material in the sythesizers leaving the accompaniment of the 2 vibraphones to become the new melodic focus. Similarly the accompaniment in the piano in the second movement becomes the melody for the synthesizer in the fourth movement. The ambiguity here is between which is melody and which is accompaniment. In music which uses a great deal of repetition I believe it is precisely these kinds of ambiguities that give vitality and life

	— Steve Reich<ref>http://www.boosey.com/cr/music/Steve-Reich-Sextet/5234</.ref>		— Steve Reich<ref>http://www.boosey.com/cr/music/Steve-Reich-Sextet/5234</ref>
	<!-- Enter program notes...if there are none, enter this: {{help}} You may delete this text once this is done. -->		<!-- Enter program notes...if there are none, enter this: {{help}} You may delete this text once this is done. -->

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	<!-- Enter any resources...if there are none, enter this: {{none}} You may delete this text once this is done -->		<!-- Enter any resources...if there are none, enter this: {{none}} You may delete this text once this is done -->
			== References ==
			<references/>
	<br /-->		<br /-->
	<br /-->		<br /-->

Admin at 04:01, 8 September 2013

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	== Program Notes ==		== Program Notes ==
			Sextet was commissioned by Laura Dean Dancers and Musicians and by the French Government for the Nexus Percussion Ensemble. The first performance under the title Music for percussion and Keyboards was given at the Centre Pompidou in Paris on 19 December 1984 by Nexus with guest artists playing keyboards. The last movement was then revised in January 1985 and the title shortened to Sextet. The American premiere was presented by Laura Dean Dancers and Musicians at Brooklyn Academy of Music’s New Wave Festival on 31 October 1985 as the music for Ms. Dean’s Impact. The American concert premiere by Steve Reich and Musicians was performed on the Great performers Series at Avery Fisher Hall on 20 January 1986. Sextet (1985) for 4 percussionists and 2 keyboard players is score for 3 marimbas, 2 vibraphones, 2 bass drums, crotales, sticks, tam-tam, 2 pianos and 2 synthesizers. The duration is about 28 minutes.

			The work is in five movements played without pause. The relationship of the five movements is that of an arch form A-B-C-B-A. The first and last movements are fast, the second and fourth moderate and the third, slow. Changes of tempo are made abruptly at the beginning of new movements by metric modulation to either get slower or faster. Movements are also organised harmonically wit the chord cycle for the first and fifth, another for the second and fourth, and yet another for the third. The harmonies used are largely dominant chords with added tones creating a somewhat darker, chromatic and more varied harmonic language were suggested by The Desert Music (1984).

			Percussion instruments mostly produce sounds of relatively short duration. In this piece I was interested in overcoming hat limitation. The use of the bowed vibraphone, not merely as a passing effect, but as a basic instrumental voice in the second movement, was one means of getting long continuous sounds not possible with piano. The mallet instruments (marimba, vibraphone etc) are basically instruments of high and middle register without a low range. To overcome this limit the bass drum was used doubling the piano or synthesizer played in their lower register, particularly in the second, third and fourth movements.

			Compositional techniques used include some introduced in my music as early as Drumming in 1971. In particular the substitution of beats for rests to "build-up" a canon between two or more identical instruments playing the same repeating pattern is used extensively in the first and last movements. Sudden change of rhythmic position (or phase) of one voice in an overall repeating contrapuntal web first occurs in my Six Pianos of 1973 and occurs throughout this work. Double canons, where one canon moves slowly (the bowed vibraphones) and the second moves quickly (the pianos), first appear in my music in Octet of 1979. Techniques influenced by African music, where the basic ambiguity in meters of 12 beats is between 3 groups of 4 and 4 groups of 3, appear in the third and fifth movements. A rhythmically ambiguous pattern is played by vibraphones in the third movement, but at a much faster tempo. The result is to change the perception of what is in fact not changing. Another related, more recent techniques appearing near the end of the fourth movement is to gradually remove the melodic material in the sythesizers leaving the accompaniment of the 2 vibraphones to become the new melodic focus. Similarly the accompaniment in the piano in the second movement becomes the melody for the synthesizer in the fourth movement. The ambiguity here is between which is melody and which is accompaniment. In music which uses a great deal of repetition I believe it is precisely these kinds of ambiguities that give vitality and life

			— Steve Reich<ref>http://www.boosey.com/cr/music/Steve-Reich-Sextet/5234</.ref>
	<!-- Enter program notes...if there are none, enter this: {{help}} You may delete this text once this is done. -->		<!-- Enter program notes...if there are none, enter this: {{help}} You may delete this text once this is done. -->