Categories
Compositions Family Photo Postclassical

Companion

Companion, for two pianos, was composed through late 2018 and early 2019, while the first notehead pencil sketches date to 2011. It is dedicated to my two youngest children. All of the material derives from seven-note rows: orderings of the pitches of the diatonic scale. The harmony resembles traditional tonality heard through a pandiatonic filter. There are four sections, divided by key signature: F major, A-flat major, B major and D major.

Each section is constructed from one or two unique, quasi-symmetrical rows that move generally by fourths and fifths. Each row is layered against itself in homorhythmic canons of up to six voices, often accompanied by high and low pedals tones which form an additional canon in augmentation. Almost every chord in Companion is the result of a basic serial process, one exception being the transition between the third and fourth sections, which features chords built from nested fifths. Ultimately, such chords result from the canons as well.

The final chord is arrived at through symmetrical voice leading from the penultimate chord, and is also the initial row spelled vertically from bottom to top. Form at the local and vertical levels is highly rationalized, while global and horizontal form—rhythmic structure and phrasing—is loosely associative.

Composed 2018-2019
Audio export from the notated score, April 2019

Photo: Centre Island Beach, August 2019

Music and composer’s notes copyright Bruce A. Russell 2019

Categories
Archive Compositions Piano Postclassical

aix

aix (“waters”), for two pianos, is a short study in rising and falling patterns, with alternating chordal and canonic textures. The primary melodic shape, an ascending seventh followed by a descending second, is heard in several of my piano pieces of this period.

Composed and recorded 2004, Korg 01/WFD
Restored from playback on the original device, 2019

Photo: breakwater, Marilyn Bell Park, Toronto

Music and composer’s notes copyright Bruce A. Russell 2019

Categories
Anniversary Archive Collaborations Compositions Dance Electronic Memoir Postclassical

1994+25: Exoplanet

“Exoplanet” (1994) was commissioned by choreographer Dave Wilson for the student dance ensemble at McMaster University. Musically, it is a kind of postlude to the score for the dance suite “Land of the Living,” which I composed for a festival performance in Lyon several weeks before. I had intended to release both scores as part of a sci-fi instrumental concept album, After, but set the idea aside to work on what would become the album Uhuru.

The track is built on two alternating chords, the tonic and the supertonic, heard at first in the bassline and later in minimalist patterns of stacked fifths.

Rhythms were played manually, with light adjusting of individual MIDI events afterwards. This method of editing — as opposed to running the quantize function which I was not interested in doing — would often involve a discouraging number of clattering button clicks on the 01/W. Thus the light adjusting. It was my way of trying to avoid a fully programmed sound.

“Exoplanet” was a quick sketch for an industrial-themed dance (title unknown) which I didn’t see. I seem to recall it was performed in Boston alongside the suite; thus the complete After album concept enjoyed a single public outing.

Composed and recorded February 1994, Korg 01/WFD

Music and composer’s notes copyright Bruce Russell 2019

Categories
Archive Compositions Electronic Percussion Piano Postclassical Uncategorized

1996+21: limina

limina, for two pianos and percussion (1996), was created as an exploratory diversion between larger projects. The title, “threshold,” could suggest a point of transition or place between categories, although in retrospect the style and sound of the piece are clear. It is in the same extended musical family as Two Dances for Two Pianos, urfunk etudeMadra and Word from Earth. It ends on the same chord as it began, transposed down a semitone.

Composed and recorded August 1996, Korg 01/WFD
Remixed May 2017

Music and composer’s notes copyright Bruce A. Russell 2017

Categories
Anniversary Archive Compositions Dance Electronic Experimental Memoir Postclassical Theatre Toronto Vocal

1997+20: WhISH

Below are excerpts from the thirty-minute score for WhISH, an interdisciplinary fairy tale performed by Liminal Gryphon Theatre (director Derek Mohamed, choreographer Tracy Renee Stafford). WhISH premiered in February 1997 as part of the Rhubarb! Festival at Buddies in Bad Times in Toronto. The score was also released on cassette.

WhISH was an image and movement based work; there was no text, spoken or otherwise. It was suggested that I write melodic motifs for the characters appearing onstage. The closest I came to this was a set of contrapuntal, rhythmically interchangeable melodic patterns, with a different mode for each character. Quite often only fragments of these patterns are heard.

“Storm” was the accompaniment to an ensemble dance, and is of a piece with my lo-fi, distorted MIDI 90s work. The double-layer canons—one high, one low and also in canon with each other—are also found in my Two Dances for Two Pianos (1996) and string quartet Madra (1999). Here this material is heard in a just intonation tuning.

The time signature is a slow 3/2. There are two kick drum parts; one heartbeat-like, one with low bass notes doubling accents in the canons. The echo/reverb effects and lazy beat are inspired by dub and trip hop.

In “Fight,” the counterpoint reaches a dense, repetitive peak, fuelled by prominent electronic beats and distorted synth wails. The time signature changes between 4/4, 5/4 and 6/4 (3/2).

“Voices,” is the finale music. This is a short, cloudlike piece, scored for workstation and multiple voices overdubbed, and uses the same just intonation tuning as above. It passes through a series of dominant-like harmonies by gradually expanding the register of the voices, while the bassline moves generally by leaps; with a bit of tritone-itis toward the peak. The tuning would ideally involve a properly workshopped, practice-based acoustic ensemble and chorus.

Composed and recorded January 1997
Korg 01/WFD and Yahama cassette 4-track (for “Voices”)

Photo: detail from cassette cover, drawing by Carsten Knox

Music and composer’s notes copyright Bruce A. Russell 2017

Categories
Anniversary Compositions Dance Electronic Experimental Memoir Theatre Uncategorized

1996+20: Coupling

“Coupling” (1996) is a section from the score to Woo: Cases of Bloodletting and Natural Selection, a multimedia work by Liminal Zoo Theatre (Derek Mohamed and Tracy Renee Stafford, co-creators). It was heard as a live mix and provided the accompaniment to silent onstage action as well as prerecorded spoken word passages. It is a drone collage, restored here using three elements from the original version: a digital track created on the Korg 01W/FD with a custom just intonation tuning; portions of an older theatre score, “The Monster” (1992), for 4-track cassette and Yahama DX-27; and various excerpts or loops from other pieces of mine that were added in performance.

The original “Coupling” ran 30 minutes in performance; I have removed 10 minutes for this edition. The piece begins with a slow canon in G and from the two minute mark onward remains fixed on D. While the drone root does not change, many different upper pitches, sound colours, textures and moods are encountered along the way.

Composed July 1996
Restoration December 2016

Equipment: Tascam Portastudio cassette 4-track, sound sources Roland S-50 sampler and Sony home CD player with loop function, across several generations of tape and Yamaha DX-27 synthesizer, Roland reverb;

Photo: detail from NOW Magazine, August 1996, newsprint, low res scan December 2016

Music and composer’s notes copyright Bruce A. Russell 2016

Categories
Anniversary Composers Compositions Piano Postclassical

23, for piano

23 (2016) was composed as an homage to Steve Reich and is dedicated to him on the occasion of his 80th birthday. All of the material in this piano miniature derives from melodic patterns and sonorities in his music. (This is true to a lesser degree about some of my earlier pieces as I have pointed out elsewhere.) The starting point for this process was measure 23 from Piano Phase (1967) and Reich’s favoured key signature of D major/B minor. There are several other works and Reichian tonal centres referenced, sometimes in quick or overlapping succession.


I avoided transforming melodic or harmonic entities beyond recognition, emphasizing spontaneous musical flow over structured collage. Fans of the elder composer may enjoy listening for references however subtle they may appear. Others may note that 23 sounds similar to my other piano pieces, which reflects the great influence Reich has had on my work. A tribute seems only fitting.

Happy 80th, Steve!

Composed September 2016
Recorded live with no edits October 2016, Roland digital piano direct

Photo: Carolyn Cole

Music and composer’s notes copyright Bruce A. Russell 2016

Categories
Chamber Compositions Postclassical

Linea Nigra, for string octet

Linea Nigra (2015) began as an orchestration of my piano piece Canon Chorale (2005). It is scored for string octet, in this case the same configuration as a double string quartet. Most of the structure and content of the earlier work are retained as a kind of continuo, to which newly devised material adds range and contrapuntal detail.

The general technique is a variation of first species counterpoint. A set of short melodies in each of the modes of C major are heard in two- to six-voice, note-on-note canons at the unison and octave, creating a sequence of block chords, or a chorale. The resulting harmonic progressions may have a cloud-like feel to them especially as melodic lengths and part density increase, and chord roots become ambiguous. Towards the end, faster melodic lines develop out of a recurring a triplet pattern.

The title of the piece reflects my own quest for my biological and cultural roots. Linea nigra (“black line”) thus references the vertical line that appears on a woman’s belly in some pregnancies, while it also suggests Black lineage and survival. It could also stand in the sense of a melodic line, printed or otherwise.

My great thanks go to Ashil Mistry, who suggested the instrumentation and generously edited the score, as well as directing the performance heard here.

Recorded July 3, 2016, London, UK
Scheme Ensemble
Ashil Mistry, conductor

Music and composer’s notes copyright Bruce A. Russell 2016

Categories
Compositions Piano Postclassical

Children’s Suite

Children’s Suite comprises a trio of three-movement works for piano I composed for my children Remi, Kenza and Tijani in the respective years of their birth. All nine movements are written in diatonic C major/A minor. The cycle opens and closes with fast movements, otherwise the music is slow to moderate. Forms and structures are for the most part simple and pop-song like, with a limited amount of complexity and abstraction in the details. In several instances, I take inspiration from Bach’s Prelude in C major, in the idea of a repeating pattern with changing harmonies.

Remi (2007)
I. Oh Seven
II. Queen Peace
III. A New Day

Kenza (2012)
I. Fourths + Fifths
II. Moon
III. Golden

Tijani (2014)
I. Son’s Light
II. Lullaby
III. Young Afro Future

Recorded 2013-2015, Roland digital piano direct to file

Music and composer’s notes copyright Bruce A. Russell 2015

Categories
Compositions Piano Postclassical

Tijani, for piano: Young Afro Future

This is the last movement from my piano work Tijani, and the closing part in a cycle of three, three-movement works for piano I’ve composed for my children (which include Remi and Kenza). All nine movements are written in diatonic C major/A minor. Like the opening movement of the cycle, “Oh Seven,” this is a fast piece. The title is based on a combination of my wife’s nickname for our son and the cultural realm of Afrofuturism.

There are three main melodic ideas; the first, a pattern of ascending fourths in the right hand which goes through changes in pitch and harmony; the second, a bassline of staggered octaves which becomes a root-fifth-octave pattern in the second section. The first section of the piece is based on a rhythmic pattern of nine beats; the second, fours alternating with threes. The third idea arrives in this section: progressions of four-note chords, moving in half notes (minims) alternating with dotted quarters (crotchets) and later, dotted half notes (minims).

As with the rest of the cycle, the form and structure here are simple, almost pop-song like. There is a limited amount of complexity and abstraction present in the harmonies and rhythms. Once again I take inspiration from Bach’s Prelude in C major, in the idea of repeating a musical pattern over and over but substituting new harmonies each time.

Composed November 2014
Recorded June 2015, Roland digital piano direct to file

Photo by Remi

Music and composer’s notes copyright Bruce A. Russell 2015