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#REDIRECT ] |
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{{Otheruses}} |
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In the ] '''phasing''', popularized by composer ], the same part (a repetitive phrase) is played on two ]s, in steady but not identical ]. Thus, the two instruments gradually shift out of unison, creating first a slight echo as one instrument plays a little behind the other, then a doubling with each note heard twice, then a complex ringing effect, and eventually coming back through doubling and echo into unison. Phasing is the rhythmic equivalent of cycling through the phase of two waveforms as in ]. Note that the tempi of the two instruments are almost identical, so that both parts are perceived as being in the same tempo: the changes only separate the parts gradually. In some cases, especially live performance where gradual separation is extremely difficult, phasing is accomplished by periodically inserting an extra note into the phrase of one of the two players playing the same repeated phrase, thus shifting the phase by a single beat at a time, rather than gradually. |
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{{Redirect category shell| |
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The technique originated in Reich's ], where the composer sets off several copies of the same tape loop simultaneously on different machines. Over time, the slight differences in the speed of the different tape machines causes a ] effect and then rhythmic separation to occur. Examples include Reich's '']'' and '']''. This technique was then extended to acoustic instruments as described in the above paragraph and later the change in phase was made immediate, rather than gradual, as in Reich's ''Clapping Music''. |
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{{R from related word}} |
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{{R with history}} |
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As the cycle unfolds, often other melodies will be created by the differing instances of the original phrase being played together. As in Steve Reich's ''Violin Phase'', the composer will sometimes have an additional instrument or live performer with the tape who playing these secondary, extracted melodies to accentuate them. |
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Music writer ] has pointed out on later use of phase shifting technique: "Though not widely used in minimalist works per se, it survived as an important archetype in postminimal music (e.g. ]'s ''Time Curve Preludes'', ]'s ''Dream in White on White'', ]'s ''Time Does Not Exist'')." <ref></ref> ]'s ''Violin Tone Orchestra'', ''Words'' and ''When I Am Laid In Earth'' are all phasing works and composed with the help of digital sampler, or computer, and multitrack technology. His electronic multichannel music for video installation ''Eight Rooms'' is based on spatial phasing, where the phase shifted sounds surrounds the listeners and moves around them. Kuljuntausta's phase shifting method is based on ] of sounds. |
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An example of phasing in ] is "The True Wheel" on ]'s album '']''. Another one is the final track on ]' ]. |
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The playing of different repeated phrases in the same tempo but having different metrical lengths (beats in the bar), as in the music of ] and others, is not phasing but may be considered ]s. |
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The effect is similar to that heard when a Shortwave station undergoes fading. As the signal takes multiple paths through the ionosphere, the different time delays cause the signal to exhibit the characteristic phasing sound. |
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