Sequences (2000, rev. 2020) is scored for percussion and two marimbas. The title refers to sequences both in the sense of a musical phrase that repeats with a variation in pitch each time (in this case, with a variation in rhythm as well), and in the sense of an arrangement programmed electronically using a sequencer (a device prevalent in the 1980s and 1990s during my early years in music).
Four chords are used exclusively: D dominant, C major, G major and A minor, i.e., V – IV – I – ii in the key of G, while there is a hint of the relative E minor in the bridge.
Parameters vary within a relatively narrow range: harmony, rhythmic phase, register (expanding or contracting symmetrically from pattern to pattern); and interval quality, i.e., one pattern may feature predominantly small intervals and another, widely spaced ones. In the latter half of the piece, new sets of patterns emerge on the same four chords.
Sequences shares some material in common with my string quartet Madra, as these compositions emerged during the same period (along with Kalimba Canon). My primary focus during this period was fusing a pop sensibility with minimalism derived from West African traditional structures, positing an everyday musical form through the cultural window I had at the time.
The piece is not unlike a pop song in terms of its structure, duration and harmonic character; however, a tension exists between this aspect and the almost statistical regularity of the material from beginning to end. The marimba parts require virtuoso players; the “beat” is a relatively straightforward alternation of kick and cross stick with constantly varying accents in 3/2 metre, in response to the marimba music.
The original version of the score, now lost, was for two marimbas and one unpitched percussion part. The kick drum in the demo recording of that version was a TR-808 type electronic pulse, and I had then hoped to expand the part into a bassline by assigning chord tones to its rhythms: another nod to popular music and a go-to technique. This was added as a new part in 2020, as I was recreating the score from the original demo and notebook sketches. This new demo is best heard on a sound source which has an emphasis on low end frequencies.
Composed August 2000, revised October 2020
Audio export from the notated score
Photo: the composer as a child, Sault Ste. Marie, early 1970s
Music and composer’s notes copyright Bruce A. Russell 2020