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Archive Compositions Dance Electronic Memoir Percussion Postclassical

Sequences

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

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5 Questions Afro-Caribbean Classical Composers Dance Experimental I Care If You Listen Interview Journalism Media Music Journalism Percussion Performers Postclassical Vocal

5 Questions to Anaïs Maviel

My interview for I Care If You Listen.

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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

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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

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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