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Reed Phase
''Reed Phase'', also called ''Three Reeds'', is an early work by the American minimalist composer Steve Reich. It was written originally in 1966 for soprano saxophone and two soprano saxophones recorded on magnetic tape, titled at that time ''Saxophone Phase'', and was later published in two versions: one for any reed instrument and tape (titled ''Reed Phase''), the other for three reed instruments of exactly the same kind (in which case the title is ''Three Reeds''). It was Reich's first attempt at applying his "phasing" technique, which he had previously used in the tape pieces ''It's Gonna Rain'' (1965) and ''Come Out'' (1966), to live performance.
== History ==
''Reed Phase'' was composed in 1966 for Jon Gibson, the score having been finished in December 1966. The world premiere was given by Gibson in the art gallery of Fairleigh Dickinson University in New Jersey on January 5, 1967, under the title ''Saxophone Phase'', and was repeated in New York at the Park Place Gallery on March 17, 1967 . The score was published the next year in a version "for any reed instrument and two channel tape or three reeds", now retitled ''Reed Phase'' or ''Three Reeds'' .
''Reed Phase'' is the first work in which Reich attempted to apply the discoveries of phasing made with the tape works ''It's Gonna Rain'' (1965) and ''Come Out'' (1966) to live performance. It represents a transitional stage in that it combined, in its original version, live instrumental performance and tape accompaniment. A technical difference between the tape and live mediums is that in the former, phasing was accomplished by slowing down one tape loop against the other, using the technique of flanging, whereas in the instrumental compositions it proved easier for one player to speed up against the other’s fixed tempo. From the listener’s point of view, however, the difference in effect is indistinguishable .
''Reed Phase'' begins a sequence, followed directly by ''Piano Phase'' and ''Violin Phase'' (both 1967), in which the composer explores phasing technique for a single performer with tape and, in the case of ''Piano Phase'', just two players. The two later compositions are among the most familiar of Reich's early works but ''Reed Phase'' has remained relatively unknown, in part because Reich soon came to regard it as a failure. Already with the publication of his collected ''Writings about Music'' in 1974, he excluded it from the compositions he regarded as "worth keeping", and never mentions the work in that book, even in passing . Later, Reich characterized the work as "discarded" . The limited harmonic material aside, Reich had come to realise that unusual numbers of beats, such as the quintuple meter of ''Reed Phase'', offered less than they initially suggested. In ''Piano Phase'', work on which was already begun in late 1966, he chose a pattern of twelve eighth notes, subdivided into two groups of six, and began to discover the possibilities of metric reorientation which lay behind the potential subdivisions of a twelve-beat pattern . Twelve-unit rhythmic patterns
抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』
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