yes. i'm saddled with the pronunciation that was prevalent in the 70's... please see other comments above... but yeah...

It's actually pronounced "Reich"

Loads of American interviewers called Neil Peart of RUSH Neal Pert. He had to make it clear several times that it was pronounced Peart, NOT Pert.

It's not too surprising that people (especially Jewish people) with that surname would want to avoid the proper German pronunciation, given that word's 20th Century associations.

It's not surprising @@Hydrocorax, but Americans also have a unique way of pronouncing names from Slavic languages. In Britain people tend to Anglicise including respelling, so Grin becomes Green for example. What is important here is the way Steve pronounces it - /raɪʃ/ - as it's his name.

amazing.

yes! i had a chance to see it live this year, by the Colin Currie Group. transporting.

Glad it was helpful!

Awesome, thank you!

wow, cool story.

Well said!

@@ImpliedMusicHi Chris. I have just bought a very interesting guitar microlooping pedal which when tweaked with finess provides some wonderful Reich/Glass moments. Check it out kzfaq.info/get/bejne/m92paLegvsnMgmQ.htmlsi=tb81QMnhABpBKyOy. Hope you like it.

Glad to help

Thanks Tom, and welcome!

excellent. these ideas really come to life in actual performance.

thanks!

happy you mention Adams. he and i are neighbors... i get a kick out of seeing him at the grocery store.

it's so amazing to hear live!

@@ImpliedMusic I was trying to make sense of the syncopation and the part about the 16th notes to 8th notes to quarter and unison made everything click in my head.

Thanks!

I agree. We’re all much better at thinking and performing this stuff thanks to experience of hearing it from sequencing

@@ImpliedMusic thanks Maestro for kindly approving of my comment. Here is the precise example I am talking about where i play different metrics on top of a steady 11/8 backbone. (voice in 8/8) That kind of stubborn steadyness is dirrectly inspired by Steve Reich's music ( i must say, though, that Michael Nyman's "intense relentlessness sound" is also a great inspiration for that tune as well ). enjoy: (kzfaq.info/get/bejne/l5alp6Wnzbq0qWw.html

“Reich mansion” 😅😅😅 I must say I am sick of all these musicians selling out and going minimalist and raking it in. Turns out really sparse atmosphere instrumental music just rolls the 💰💰💰in like crazy!! Pour one out for the poor brothers and sisters starving at their pop and dance music 5:18 while the minimalists party with models.. 😢😢🫗🫗😔

▪ f e y ▪ m u c h ?

I can’t imagine how bored a guy would have to be to make that account. 😂

@@RaquelFoster To be fair, I was thoroughly entertained. In fact, I think I want to meet this person!

@@erikpielermusiclmao if my boy can get the bag, more power to him 😂

Glad to hear it!

Thanks for watching!

Welcome!

thanks for the support. great note about letting the music speak for itself. i get over enthusiastic ... cheers.

thanks Jorge. it's a topic close to my heart.

that's great to hear. his work was a revelation for me.

Casey, you've put your finger on what's challenging about working in minimalism. there's a distinction to make between rich harmonic sonorities, as we find in Reich and John Luther Adams, and functional harmony, the narrative arc of tonic dominant relations. What appeals to me about minimalism is the separation of the two components. structural process, the division of time, or horizontal construction, is independent of the vertical arrangement. i think the best minimalist compositions build rich vertical harmonies AND linear structures from the simplest of premises. is this any help? now i'm curious to hear how the assignment progresses.

@@ImpliedMusic yes that actually does help a lot. I'm going to move as far away as possible from dominant/tonic function for this. Maybe I'll choose a pentatonic scale to work with (maybe one of those cool Asian ones). That way there's not a lot of pull in the scale. Because when you stick to 5 note scales, sometimes it's hard to find a tonic (thinking only about melody here). I'm thinking note-wise, it can just sort of float around on that scale, and I can possibly make the rhythms the star of the composition. I'll try to remember to leave you another comment once I post it, because I plan on posting all of my music from this semester on my KZfaq account. I just got done with a string quartet, and we actually paid for a real professional quartet to perform my class's music. So I'll probably be posting that video as well. I'll definitely try to remember to notify you.

Your comment about the drone reminded me of Reich’s Four Organs, which creates a drone-like quality by holding a note for an increasingly long time. It also shows how the music can grow sonically complex just from the interplay of the instruments playing very simple phrases.

@@piggly-wiggly cool! I've never actually heard that one before. I'm gonna look it up now.

awesome info.

@@ImpliedMusic Update: Different Trains is mindblower. An out of body experience. Wow is all I can say. So personal, so moving, so intricate concocted and performed.

You’ve got plenty of transferable skills. Piano is intrinsically hard. It’s the individual finger thing. But apparently it’s possible. It’s rewarding in the way stupidly difficult things are rewarding.

ah. i'm conflating, yes. you're right. thanks for that.

@@ImpliedMusic thanks for the nice video though 😉

agreed!

Soniccouture’s marimba

I’m on it. We were just talking about doing a sample library of his instruments! Remains to be seen if they’ll give us access. Btw, Rainbow in Curved Air is , I believe, a Terry Riley album.

@@ImpliedMusic ack you are of course correct about Terry Riley. Doh! 40 years later my brain isn’t accessing those circuits as it once did. Love them both. Also really appreciate your Philip Glass content.

great question. just offsetting two identical phrases will generate a new sound, but it won't continually evolve. Reich's innovation was to explore the second of your two options... one of the phrases a bit faster than the first, so that they only re-sync after a considerable time. it's possible to create similar effects with phrases of the same speed (beat) but different lengths. i.e. a phrase of 4 against a phrase of 5 beats will re-sync after 20 beats.

@@ImpliedMusic Thank you 🙏

Excellent question. Not off the top of my head. Let me research this a bit.

@@ImpliedMusic Thank you for your reply. I just had the idea, because you showed some notation papers in your video. I already searched the web but was not lucky. All the best from Germany, mo.

@@mosonic apparently there are some available, though they seem to be behind paywalls or in forums that require log-ins. i'm lucky in that i'm comfortable reading and transcribing things. published scores are readily available, and i believe there may be software tools for MIDI conversion...

Can you point out some sites with paywalls. I would pay a certain amount.

@@mosonic i can't. i'm quoting a blog post i read after a brief google of the question. clearly, i'm easily deterred.

great question. inductively, he's partial to compound meters in various groupings. there plenty of 6's, for instance.

Besides compound meters he's also a big fan of changing time signatures often, and very often subdivides the rhythm within those time signatures. It's very rhythmic!

great idea.

thanks for your observations. respectfully, i couldn't disagree more that some large language (in this case musical language) model of minimalist composition could produce a masterwork that's indistinguishable from the work of Reich, Terry Riley, Lamonte Young, John Adams, Philip Glass, et al. Regarding your questions about proof of slavish adherence to primitive rules, i'll simply observe that this type of music may just not be your cup of tea.

​@@ImpliedMusic Thanks for the reply! I agree that a genre may simply not suit everyone - but I don't dislike the music those composers have created! I just feel that it is based almost entirely on simple rules, and has plenty of room for redundancy (e.g. around 3:00, I find the E -> F# -> B -> C# -> D sequence could be rearranged in any other order, or swap the F# for an A, etc. and the musical effect of the piece remains quite the same). I feel inclined to call the most creative/inspired elements of minimalism "music-adjacent" - e.g. interesting samples, vocal pitch transcription, prepared pianos, odd and beautiful choreography and visuals. I think it's easy to tell where else the persuasion of minimalist music is coming from; e.g. the scales are pleasant, polyrhythms keep our ears interested, repeating layers come and go. I suspect I could compile a short list of techniques and you (or anyone!) would have a hard time finding any moment within any minimalist piece of music which appeals to us for any reason not on the list! (I'm interested to know if you disagree here?) Because the list is short and the techniques on it are well-defined, it is fodder for ai (and not necessarily LLMs - as I understand, LSTMs and RNNs are more adapted to this kind of work). I believe I could write a short program that generates arbitrary amounts of midi with a comparable feeling to that shown in this video - agreeable tones, interesting polyrhythms, etc - and without even leveraging any ai techniques. Pursuits which are based on simple rules and allow for redundancy will be (and already are becoming) the earliest crafts indistinguishably fulfilled by ai. I don't dislike this music, I just think we'll re-evaluate it in the face of ai. The one thing humans have is a soul. If we create art only by picking from a limited and predefined basket of techniques, I don't think we are expressing our souls.

@@gershommaes902 thanks for this.

thanks. as you've noticed, i've made a choice on this channel to not use published sheet music. i sometimes will show my own transcriptions. as a commitment to the bulk of my subscribers who aren't musically literate, as you and i are, i usually end-run the sheet music (issues of copyright completely aside.) that said, it's not trivial to find scores from some composers, i get it. for this score, my own work, it happens there's no notated score at all.