Pitch Patterns in Steve Reich’s “Clapping Music”

Clapping Music

Alarm Will Sound will perform Steve Reich’s Clapping Music on the 16th at Stanford. (If you don’t know the piece, see here.) It will be a full ensemble performance of the piece with Steve Reich, the man himself, clapping along. Steve has never done the piece in such a way before, and quite possibly it’s the first time it will ever be done with such a large group. (Though it has been juggled before.)

Practicing it got me thinking about my past experiences with the work and particularly an anecdote that I vaguely remembered from a music theory course. What I recalled was that there was a way to map notes to the rhythm and as the pattern phased against itself it would line up in significant ways.

I did the most logical thing for me: I contacted Gavin Chuck, AWS managing director (and music theorist extraordinaire) and Alan Pierson, AWS music director. A lengthy (strange) email exchange ensued: Alan pointed out that there are twelve eighth notes in the pattern which can be mapped to the chromatic scale. Gavin took it a step further:
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Derek Bermel interview

Canzonas Americanas artworkOur latest album, Canzonas Americanas, is of music by Derek Bermel, who is a long-time collaborator of ours. Our conversation about the album covered a lot of ground, which is no surprise given Derek’s eclectic approach to composing: we talked about Nancarrow, Latin music, Ives, African music, Messiaen, blues, Brahms, and the European avant-garde. Even astrophysics worked its way in: I don’t know if I’ve gotten to talk about different types of equilibria since my undergrad days.

Alan Pierson: Derek, this album is the combination of a bunch of collaborations that Alarm Will Sound and you have done together. Why this project and why this project with Alarm Will Sound?

Derek Bermel: In writing for this this type of large ensemble—I think of it as the orchestra of the 20th century, and maybe the 21st century too—I had many ideas that emerged from my engagement with vernacular music, sometimes pop music, sometimes jazz, sometimes Latin music, or music from Africa. The big difficulty I had was how to address the classical tradition (which I’m from) while working with very disparate styles. I think Alarm Will Sound is the group for this task because your players have experiences with so many different types of music and they can address so many different stylistic details. That really makes or breaks what I compose.

AP: Do you find you do things differently for an orchestra versus this kind of large chamber ensemble?

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Remaking cultural infrastructure

Today we announced our St. Louis Season. It’s an initiative we developed because we noticed how much new music and art is happening in the midwest after being the resident ensemble at the Mizzou New Music Summer Festival since 2010. It’s a no-brainer, of course, that creative energy flows everywhere.

What is remarkable, though, is how that energy is channeled in uneven ways in the American music scene: prestigious venues, influential critics, etc. are located on the east and west coasts, reflecting the cultural infrastructure of contemporary music. Not surprisingly, communities have formed around the concentration of artistic resources in New York and Los Angeles—less so in the heart of the country—and the wealth of creative work that has emerged from these communities is proof that culture develops and thrives at the intersection of artistry and geography.

The challenge that faces an ensemble with a national scope like Alarm Will Sound, therefore, is to broaden the definition of the “American music scene,” not only artistically, but geographically too. We take that challenge to be the creation of an infrastructure for contemporary music in the midwest. As we enter our thirteenth season, Alarm Will Sound is poised to lead and participate in the development of a new-music community that concentrates and amplifies the creative energy that flows in places like St. Louis, Memphis, Indianapolis, Detroit and Chicago, as much as it does in New York and Los Angeles.

The essential first step is to become a focal point within the community. An ongoing series of innovative performances in St. Louis will be the heart of Alarm Will Sound’s initiative. Over time, we will become integrated in the community through strategic partnerships with presenters in St. Louis; through collaborations with local composers and artists; and through educational programs that address the needs of the next generation of composers and performers.

As Alarm Will Sound becomes rooted in St. Louis, we also envision reaching a wider midwestern audience. The over-arching goal is to meet the midwest’s cultural needs and to grow its artistic infrastructure as an essential (if overlooked) part of the country’s cultural geography.

Whatever our success has been in the past, it would have been impossible if there were no audience, or no need for the dynamic and rich musical expression of contemporary life. Reaching that audience, and cultivating that need in St. Louis and the midwest are part of Alarm Will Sound’s mission to further enrich American culture.

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Get to Know the Mizzou 2012 Resident Composers

Ahead of the 2012 Mizzou New Music Summer Festival, we asked the eight resident composers about themselves and their music. 

AWS: What is the first piece you wrote? Do you still own up to it?
Stephanie Berg: Technically, I wrote my first piece when I was about five years old.  I definitely still own up to it—it was a cute little piece for piano, fully harmonized and everything.  It ended the same way it began and was a little scattered thematically, but how much can you really expect from someone who eats their boogers?
Asha Srinivasan: My early works were written on a multi-track keyboard synthesizer and intended as choral pieces. I would own up to them but I wouldn’t want them performed because I have grown so much since then. My understanding of music and sound has changed so dramatically. I would still acknowledge those works as important stepping stones into composition, but not much more than that.
Ted Goldman: Two, a chart for my high school jazz combo. And yes, I still think it’s totally awesome!
Charlie Piper: I was writing little pieces when I was about 9 or 10. They were usually called things like Piece for my mum and were for the piano and had about three notes in them. They’re still a prominent part of my catalogue.
Brian Ciach: The first piece I wrote is a piano sonata from 1995 in D-flat major. It sounds like bad Mozart.
Patrick Harlin: I wrote a solo piano work when I was seven which my mom notated for me.  I absolutely own up to it!  Oddly, I find fragments of works from my early childhood in much later pieces.

AWS: What are the challenges and rewards of writing for Alarm Will Sound’s instrumentation?
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Crowdsourcing Song Books: Solo 61

We’re looking worldwide and webwide for performers to take part in our Song Books shows at the Cork Opera House (June 6), the Holland Festival (June 9), and the River to River Festival (July 15). It doesn’t matter where on the planet you are—as long as you have a webcam and a decent internet connection for streaming your performance of Solo 61 live.

This is what a page of Solo 61 looks like:

To participate in the show: Continue reading

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Crowdsourcing Song Books: solo 6

We had a great response to our first call for participation from the world wide web. Through Twitter, folks from far and wide submitted tiny sentences that combined adverbs, verbs, nouns and adjectives to be used in Solo 6, the score of which looks likes this:

Solo #6 score

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