Terry Riley is an American composer and performing musician. He is a renowned 20th century music composer. He is considered the pioneer of the minimalist school of 20th century music. Terry utilized tape music techniques, delay systems, and repetition, making his music notable. Two videos of his famous music compositions are analyzed in detail based on the six basics of melody, harmony, texture, rhythm, timbre, and form. The two music compositions are “A Rainbow in Curved Hair” and “In C”. The two compositions have been performed by several individuals and groups.
“ A Rainbow in Curved Hair”
“A Rainbow in Curved Hair” owes a lot to jazz and Indian classical music. The music features pulsing and repetitive modules of melody. The melodic segments are generally played on an electric keyboard and recorded. They are then replayed endlessly to create an impression of timelessness (Kademan13, 2012). The layering continues in the music, developing a dense web of sound. Harmony is sustained in “A Rainbow in Curved Hair” through tape loops and tape delay systems. Essentially, conventional harmonies are innovatively transformed in the music. The music also has rhythmic cycles that are characteristic of Indian classical music. The returns of the rhythmic pattern are often obscured by the layering of sound in the music(Kademan13, 2012). “A Rainbow in Curved Hair” features a heterophonic texture. The music consists of multiple performers playing a single melody all at once, with each performer adding their own variations. The music features subtle melodic variants of the same tune, something common with Indian classical music. Timbre is also an important element in “A Rainbow in Curved Hair”. Utilizing overdubbing, Riley uses such timbre sounds as electric organ, two electric harpsichords, tambourine, and dumbec (Kademan13, 2012). The work is largely improvisational, demonstrating the composer’s ingenuity. With regards to form, the song appears to have three distinct sections. The first section is fast and it gives way to the second section at 6:39. The second section has a slow movement that is more contemplative. The third and final section which is more rhythmic begins at 11:41. The section is generally dominated by the dumbec. The music then ends abruptly.
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“ In C”
“In C” is among Terry Riley’s iconic works. The music comprises a series of melodic fragments. It is made up of 53 short musical phrases that are numbered (KomaromyKornel, 2012). The phrases last from a half a beat to 32 beats. With regards to harmony, the musical phrases in the work are played in order (KomaromyKornel, 2012). They are played in repeated eight notes on a piano. The texture of “In C” is heterophonic just like “A Rainbow in Curved Hair”. It features interplay of various patterns against each other. The music also has rhythmic pulses that are repetitive. The patterns interplay against each other at different rhythmic displacement. The timbre sounds in the music include drum set, cymbals and bells (KomaromyKornel, 2012). In terms of form, “In C” is made up of 53 musical phrases that are numbered. As the music progresses, various waves of modalities and pitch-centers cycled through.
Influences
Terry Riley’s works reflect the time period in which he lived. During his time, tape loops were a powerful tool for experimental musicians. For instance, renowned musicians like Pierre Henry and Pierre Schaeffer utilized them in their works. Terry was not left behind either. He used tape loops to distort the listeners’ perception of time by repeating and overlaying sounds on top of themselves (Paul, 2004). During his time, disruption of time was a central idea in music.
References
Kademan13. (October 6, 2012). Terry Riley - A Rainbow in Curved Air - Full CD [Video file]. Retrieved from https://www.youtube.com/watch?v=hy3W-3HPMWg&pbjreload=10
KomaromyKornel. (Jan 31, 2012).Terry Riley: In C [Video file]. Retrieved from https://www.youtube.com/watch?v=yNi0bukYRnA
Paul Smith, A. (2004). Minimalism and time: the perception of temporality in American minimalist music from1958 to 1974 (Doctoral dissertation, Durham University).
