The idea for this mixtape came to me about a year ago, after an exchange with an online friend. Steve Reich has often described the role of keys and chord cycles in his compositions. This retrospective treats Reich’s oeuvre as a meta-cycle of chords, by pitch matching one track to another where their endpoints share a common harmony (an application of the DJ technique of harmonic mixing).
Sometimes the shared harmony is present only for a few seconds, long enough to make a link. Sometimes the keys match; sometimes only a subset of pitches does. Occasionally, the voicing matches exactly, or the pairing otherwise exposes the uncanny in Reich’s rigour.
There’s no intentional comment or structure in the selection of pieces, which are usually single movements from a larger work.
No software alteration of the pitch of the original tracks was used. The pitch matching relates to the key signatures as written, performed and recorded.
Tracklist & Artists
(harmonies and/or keys at start & end points)
Timings factor in crossfades where applicable
0:00:00-0:04:37
Mallet Quartet, III. Fast (2009)
So Percussion
(G Lydian or A11/G in D; A11 leading to Dsus2)
0:04:37-0:08:53
Music for 18 Musicians, Section I (1974-76)
Steve Reich and Musicians
(Dsus2 in D)
0:08:53-0:13:02
You Are (Variations), II. Shiviti Hashem L’Negdi (I Place the Eternal Before Me) (2004)
Los Angeles Master Chorale, Grant Gershon
(A11/G in D)
0:13:02-0:15:17
The Cave, Act 1: West Jerusalem (May-June 1989), III. Genesis XII (1990-93)
The Steve Reich Ensemble, Paul Hillier
(G Mixolydian; A Lydian or B13/A)
0:15:17-0:17:46
The Four Sections, II. Percussion (1987)
The London Symphony Orchestra, Michael Tilson Thomas
(A Lydian or B13/A)
0:17:41-0:20:53
2×5, II. Slow (2008)
Bang on a Can
(A Lydian or B11/A; F Phrygian dominant in key of B-flat minor)
0:20:37-0:28:06
Different Trains, II. Europe-During The War (1988)
The London Steve Reich Ensemble, Kevin Griffiths
(F Phrygian; Gmin11/D)
0:27:25-0:29:59
Three Tales: Hindenburg, III. A Very Impressive Thing to See (1998-2002)
The Steve Reich Ensemble, Synergy Vocals, Bradley Lubman
(D dominant in G minor)
0:29:52-0:33:15
Triple Quartet, III. (1999)
Kronos Quartet
(D dominant in G minor; E minor)
0:33:16-0:37:41
Nagoya Marimbas (1994)
Bob Becker, James Preiss
(E minor; Esus7)
0:37:33-0:40:16
New York Counterpoint, II. Slow (1985)
Evan Ziporyn
(B Dorian or E11)
0:40:17-0:45:03
City Life, III. “It’s Been a Honeymoon – Can’t Take No Mo'” (1995)
The Steve Reich Ensemble, Bradley Lubman
(B Dorian or E11; D dominant in G)
0:45:04-0:55:06
Daniel Variations, IV. I sure hope Gabriel likes my music, when the day is done (2006)
Los Angeles Master Chorale, Grant Gershon
(E minor; D dominant in G)
0:55:04-0:59:34
WTC 9/11, III. WTC (2010)
Kronos Quartet
(Dsus leading to G dominant; D-flat sharp 11 in F minor)
0:59:34-1:06:25
Variations for Vibes, Pianos & Strings, II. Slow (2005)
London Sinfonietta, Alan Pierson
(D-flat sharp 11 or E-flat 11/D-flat in A-flat major; C11/B-flat in F)
1:06:25-1:11:29
Duet (1994)
The Smith Quartet
(C11/B-flat; F major)
1:11:25-1:16:11
The Desert Music, First Movement – Fast (1984)
Steve Reich and Musicians with members of the Brooklyn Philharmonic, Michael Tilson Thomas
(F Mixolydian; D Dorian minor)
1:16:06-1:24:45
Vermont Counterpoint (1982)
Ransom Wilson
(D minor leading to G Dorian minor; Asus7 in D)
1:24:45-1:31:33
Double Sextet, III. Fast (2007)
eighth blackbird
(A11/E; A11, A-D dyad)
1:31:34-1:44:09
Piano Counterpoint (2011), from Six Pianos (1973)
Vincent Corver
(D major; B minor)
1:43:34-1:56:23
Come Out (1966)
Steve Reich
(B minor, approximately a quarter tone sharp)
1:55:44-1:57:59
Proverb (1995)
Theatre of Voices with members of The Steve Reich Ensemble, Paul Hillier
(B minor)
Compiled and mixed April 2012
Creative Consultant: Ashil Mistry
There is a version of this mix available which includes the complete track of Proverb. Send me a private message.
As part of the ongoing study and critical appreciation of the music of Steve Reich, this post falls under fair use. The copyrights for these recordings are owned by record companies ECM, EMI, Nonesuch, and Signum Classics, and not by me.
If you enjoy this music, please purchase the original recordings.
—
EL MAHBOOB 