As mentioned previously, the complexity of “Piano Phase” and subsequently the initial polyphony of the piece mainly stems from the many accelerandos present throughout the piece. Reich utilizes these tempo changes as a way to transition into many different forms. Steve Reich has stated in an interview with Rebecca Y. Kim that “Piano Phase” contains elements of a variable canon at the unison “where the rhythmic distance between the first voice and the second voice is flexible”. Like most traditional canons, “Piano Phase” relies on a specific musical cell or motif and produces variations of the different motif after a given duration. However, instead of relying on rests, Reich utilizes the changing tempo in order to produce different variations of the same melody. These constant notes replacing rests to create a canon is a prime example of the phasing technique that Reich utilizes in his piece.
Figure 5
Figures 5 and 6 illustrates both the melodic contour of the piano parts as well as the tempo changes. Figure 5 depicts the very instant that both parts are separated by the beginning of the accelerando. At the very beginning of the piece, the synced up part is represented by a bright red as it illustrates the oscillations. However, once the transition from measure 2 to measure 3 appears, the second piano part is represented by the maroon color while the first piano part is represented by a light blue color. This complete separation is shown in Figure 6, as the colors become clearly separated from each other and the blue section remains slightly behind the accelerating red section.
Figures 5 and 6 illustrates both the melodic contour of the piano parts as well as the tempo changes. Figure 5 depicts the very instant that both parts are separated by the beginning of the accelerando. At the very beginning of the piece, the synced up part is represented by a bright red as it illustrates the oscillations. However, once the transition from measure 2 to measure 3 appears, the second piano part is represented by the maroon color while the first piano part is represented by a light blue color. This complete separation is shown in Figure 6, as the colors become clearly separated from each other and the blue section remains slightly behind the accelerating red section.
Figure 6
“Manuk Rawa” also features constant tempo fluctuations in its duration which helps provide transition sections into other main sections. This is most evident in the transition from the fast introduction of the kawitan to the main body known as the pangawak as the piece undergoes a ritardando. In addition, there is also an accelerando from the pangawak to the closing section of the pangecet, which restates themes present during the kawitan (Gold 127). This format of the three sections and how the last section restates the main themes of the first section is remarkably similar to the Western sonata form. The sonata form – which Steve Reich often utilized in his phasing pieces - is split into the exposition, development and recapitulation.
While Piano Phase relies on the second pianist to make the tempo changes, Manuk Rawa features drummers who play on kendangs – two-headed unpitched membranophones that signal transitions in gamelan pieces. This is most prominent during the transition from the brief introduction of the piece to the kawitan, where two different types of kendang emphasize the gradual change in tempo. As shown in Figure 7 (seen below), the kendang signals the metallophone section to accelerate gradually.
“Manuk Rawa” also features constant tempo fluctuations in its duration which helps provide transition sections into other main sections. This is most evident in the transition from the fast introduction of the kawitan to the main body known as the pangawak as the piece undergoes a ritardando. In addition, there is also an accelerando from the pangawak to the closing section of the pangecet, which restates themes present during the kawitan (Gold 127). This format of the three sections and how the last section restates the main themes of the first section is remarkably similar to the Western sonata form. The sonata form – which Steve Reich often utilized in his phasing pieces - is split into the exposition, development and recapitulation.
While Piano Phase relies on the second pianist to make the tempo changes, Manuk Rawa features drummers who play on kendangs – two-headed unpitched membranophones that signal transitions in gamelan pieces. This is most prominent during the transition from the brief introduction of the piece to the kawitan, where two different types of kendang emphasize the gradual change in tempo. As shown in Figure 7 (seen below), the kendang signals the metallophone section to accelerate gradually.
Figure 7
It is interesting to note that although tempo changes are an important part of gamelan music, they are not notated in the actual sheet music. In Figure 7 – representing 0:08 to 0:23 on the track - the melody is supposed to accelerate from approximately an andante to an allegro tempo. While the performers accelerate in the recording of the piece, the actual sheet music does not call for this. This shows that like Piano Phase, the tempo changes are not necessarily set in stone. Instead, each performer is responsible for the fluctuation of the tempo and adjusting to the other performers.
It is interesting to note that although tempo changes are an important part of gamelan music, they are not notated in the actual sheet music. In Figure 7 – representing 0:08 to 0:23 on the track - the melody is supposed to accelerate from approximately an andante to an allegro tempo. While the performers accelerate in the recording of the piece, the actual sheet music does not call for this. This shows that like Piano Phase, the tempo changes are not necessarily set in stone. Instead, each performer is responsible for the fluctuation of the tempo and adjusting to the other performers.